David Gray: Making it acceptable for PDA whenever his music is played
The Wang Theatre in Boston is an impressive place, with its vast lobby and impossibly high orchestra sections (there are three people). It has staged plays, musicals, opera singers and probably a few world-famous drunken rock stars.
All of this makes the appearance of Lisa Hannigan all the more magical. We wrote about her this past February on the strength of her song “Lillie” and the accompanying video that came with it. For a while, her track live on my iPod as the random track on my Nite playlist and the one my friends would inevitably ask “Hey, who is this?”
To see her play live in such a massive venue and opening for David Gray brought with it a strange sense of satisfaction and pride, as if anyone who had heard of her prior to this moment was with her on stage, singing to a massive audience who were all thinking the same thing: “Hey, who is this?”
It was a nice precursor to David Gray, the Englishman who launched a thousand relationships with his songs of love, friendship and snow falling…slowly.
Almost immediately into his set, you could see the couples in the audience convene and embrace. I suspect most of them, like myself, have a personal memory attached to one of his songs.
Despite his punkish roots, Gray has emerged as the go-to guy whenever couples need something to wake up or fall asleep to together in bed on a rainy Sunday afternoon. These are songs that are simple and have a way of being realistic cinematic, in the sense that hearing them in a certain place and time can create a musical postcard people hold onto forever.
And though you may not understand how the two ugly people in front of you are caressing each other in public, you can appreciate it because, in this place and time, it truly is a beautiful thing to see love in its rarest and unbridled form.
For me, Gray will always remind me of the night my future wife and I connected, not as former lovers-turned friends-back to lovers again. This was two incredibly horny people who took out their frustrations on each other on a rainy Friday night with Gray playing in the background.
Though it was still cool for a Boston summer evening, the sun had managed to poke through around midday, creating a positive atmosphere with smiles and flip-fopped feet lining the street. In many ways, it was the perfect prelude to a Matisyahu concert, the Hasidic Jew with a penchant for reggae beats and hopeful lyrics.
As I changed out of workday clothes into concert gear in my girl’s car, the faint sound of a “Ohhhhh” floated through the air, telling us the punctual Bank of America Pavilion had suddenly come to life.
“Do you think my car will be towed? It’s ok in that spot, right?” she asked as we walked, the sound getting louder.
“Yea, I’m sure it’s fine.”
Truthfully, I wasn’t that sure, but at that point it was too late. Like the sun poking through rainclouds at noon, there’s a strange sense of contentment and happiness that hits you during a Matisyahu concert. Maybe it’s the ambiguous religiosity of the shows. Or maybe it’s the strong scent of weed in the air.
We walked in as he was performing “Jerusalem” and as I paid my $10 beer (at least it was Samuel Adams) and headed to my seat, I began to look around at the crowd.
There was a mix, from some loners to my left to the bald-headed dad in front of me who looked like he was there with his entire family. There was also a girl further down my row with her arms crossed, possibly wondering why she picked the hippie over the jock as her boyfriend at that party that one time.
Pretty soon, the music started to pick up causing everyone to do the same kind of dance, a sort of backward march thing, but in place (It’s the kind of natural movement that immediate comes when hearing reggae. Put some on now and see).
And then the DMB jam session began.
It’s a term my better half and I made up and it refers to an extended section of a song where everything slows down and suddenly it turns into a different song that is slow and sounds nothing like the initial song you were listening to.
This happened. A lot. At one point it was just Matisyahu singing “waaaahhhhhhoooooooooohhhhhh” into the mic for what seemed like 10 minutes.
It’s not that it was bad. Quite the opposite. But it was relaxing and as the shoulders began to slump downward, some in the crowd began to look tired (bald dad sat down and crossed his legs, the ultimate sign of “I need rest now”).
It got to the point when I started to ask why other songs weren’t being played like “Youth” or “Indestructible.” Inevitably “King Without a Crown” was played and I feared it was the end of the set. Thankfully, it wasn’t.
The show ended with his new single “One Day,” a Top 40-radio ready song that will be in numerous Summer 09 iPod playlists once it gets more airplay.
At this moment, life crept back into the crowd. The loners started to smile at strangers. Bald dad uncrossed his legs and held his wife. Even angry girlfriend started to sway and nod her head.
Granted, it’s an undeniably catchy song, but as we left with the chorus still ringing in my ears, I realized the basic message of staying positive for a better tomorrow is probably what gets people. And in the end, that’s the essence of religion and music. One guy just decided to take the best of both and grow a beard.
[Below is a video of some pictures with "One Day" playing. It's admittedly horrible. But I like to think it will mark a new project for 52shows, the video/pic documentation of a show. Just need to sneak in a better camera.]
The Concert Stranger attends shows in NYC and, from time to time, reports on what he saw in the least amount of words possible because when people use too many “they just get in the way.” Here’s what he did in April:
3/31 Bow Wow @ Santos Party House
It was manic. The young ladies in attendance (your correspondent was in the minority being old and male) were screaming like it was the second coming of the Beatles- yikes. But I got it- Bow Wow has charisma to spare- and abs that made me seriously jealous. Bonus- long time Wow collaborator Jermanie Dupri cameo to start things off. This was one of those free “myspace secret shows” and people were lined up around the block- way more than Santos could accommodate- but I guess that’s the deal- intimate venues. My prediction- Bow Wow becomes a huge star- but not as a rapper.
Bow Wow “You Can Get It All”
4/8 Chris Cornell @ Webster Hall
Chris has taken a lot of heat for his most recent album Scream- a collaboration with Timbaland. But you know what- if you’re an artist- you can’t give a fuck what people think. Though I’ve always been a fan of Cornell’s music- I had never seen him live- in any incarnation- not sure why- guess it never worked out. I was in luck- he covered a lot of ground- playing a fair amount of the new record (which for the most part was politely received) and also plenty of Soundgarden/Audioslave material. The highlight- a four song solo acoustic break featuring Fell On Black Days, Black Hole Sun, Can’t Change Me and Like A Stone. The man’s voice is amazing; he howls like no one.
Chris Cornell “Scream”
4/9 The Flatlanders @ BB Kings
BB Kings is not my favorite NYC venue- they really jam you in and there is a $10 minimum per set- also it’s in Times Square- which even sans traffic- locals avoid like the swine flu. Jimmie Dale Gilmore, Joe Ely, and Butch Hancock- all great individually- together- unstoppable. They are confident, graceful, and have an amazing rapport that I imagine only a lifelong friendship can breed (each is now in their 60s). Early highlight- Eggs of your Chickens. Late Highlight – Baby Do you Love Me Still. Sorely missed – I Thought The Wreck Was Over. Who knows the next time these guys will be on tour together- catch them if you can. Opener Joe Pug deserves a mention as well- was not familiar with him- but his set made me want to be.
The Flatlanders “Ride to Heaven” @ BB Kings (found on Youtube and not taped by the Stranger)
4/16 Rhett Miller @ Le Poisson Rouge
I once interviewed Rhett Miller, and he told a great story about the song “Question”. Totally not doing it justice- but the gist was: he wrote the song in Paris- on the day he met his wife for the first time. But not for her- for a friend who had just gotten engaged. He didn’t tell the story this particular evening- but he did the second half of the song in French- a cool moment. (Fun Fact: For those of you non French speakers (including your correspondent) Le Poisson Rouge apparently means The Red Fish.) I’m gonna step out and say this: Rhett Miller is the most underrated songwriter working today. After a lifetime of Old 97′s shows- my expectations for Rhett’s solo set were low- how could one man live up to the fury and fun of four? I ate those expectations. Miller solo carried it above and beyond.
Rhett Miller “Question” (live in Boston…not from the Stranger’s show)
4/21 Asher Roth/Chester French @ Webster Hall
Asher Roth and openers Chester French both failed to sell your correspondent on their respective bags.
Chester French’s music video for “She Loves Everybody” is simple and great- watch it now.
No accounting for taste of course- but in person they never really made me feel like dancing- or like I was having fun- or even like I wanted to give someone a beat down. I give guitarist Maxwell Drummey credit for his crazy French wig though- it must have been very hot.
Side Note: The Stranger’s advice to young artists is this: DO NOT waste your time trying to hype the crowd. Especially as an opener. Especially in NYC. No one is there to see you. No one gives a shit about you. If we want to clap along/dance/snap- we will. Stop imploring us. Save your energy and win us over with your music/show. (PS- Chester French- you guys are by no means the worst offender)
I would imagine “I Love College” will be pumping from frat houses well into the distant future- but the book is still out on Asher Roth. Though it had its moments- uneven is probably the best characterization of the set. Asher’s freestyle (of sorts) extolling the virtues of organic food seemed out of place next to the numerous/continuous silly pot references/silly marijuana policy thoughts (hard to have it both ways). The backing band was tight- and the beats were solid- but Asher’s delivery was underwhelming. The set never gained momentum- even at it’s inevitable conclusion w/the hit single.
4/29 Manchester Orchestra @ Bowery Ballroom
If you read last month’s post- you know I’m a huge fan of Manchester Orchestra’s new record “Everything to Nothing”. I was a also a big fan of their previous record “I’m Like A Virgin Losing Child”. So it was great to see the guys playing all the material together- and despite the differences between the records- it meshed well- felt more like a progression than a departure. Energy was good- sound was good (as it always is at bowery). Good but not great- I’m not sure why…no encore? Could have used a couple of more songs- but I guess that speaks to it being pretty good eh?
Manchester Orchestra “I Can Barely Breathe” (at the Bowery show, not taped by the Stranger)
May looks promising- heading out to The Bamboozle this weekend- then there are some oldies but super goodies- John Prine, Leonard Cohen and X!
The Concert Stranger attends shows in NYC and, from time to time, reports on what he saw in the least amount of words possible because when people use too many “they just get in the way.” Here’s what he did in March.
3/4 Manchester Orchestra @ Mercury Lounge
This 5 piece from Atlanta, GA have a new record called Mean Everything to Nothing dropping on April 21st. It is hands down the best record I have heard this year. My only complaint about their set at the Mercury lounge is that it was too short- can’t wait for their gig at Bowery next month. This is the band to watch in 2009.
The Only One
3/11 The Airborne Toxic Event @ Bowery Ballroom
How is “Sometime Around Midnight” a hit song when it doesn’t have a chorus? The answer was illustrated to me live: it starts slow and builds to a massive frenzy. LA’s indie darlings recently signed to Island Records and are headed to Europe- but catch them in May at the Sasquatch Music Festival. Bonus: the band takes their name from a Don DeLillo book- got to like a band that can read.
Sometime Around Midnight
3/20 Richard Buckner @ Mercury Lounge
Buckner needs no stage show- he is mesmerizing solo and seated with only a trusty looping pedal to fill out the accompaniment. But the show started at 12:30 in the morning- I had been drinking since 6. Richard I’m an old man- how do you feel about the early bird special next time around?
Blue and Wonder (live)
3/26 White Lies @ Bowery Ballroom
These fine gentleman are from London and they are hot there. The band’s debut record To Lose My Life was the first (debut) to hit #1 on the UK charts this year. Singer Harry McVeigh claimed his voice was shot this particular evening at the Bowery- but they sounded good to me regardless- set was short and sweet- look forward to seeing them again.
To Lose My Life
3/30 The Hold Steady @ Irving Plaza
The sound was sub-par, the band did a lot of old material which is not my favorite (i know- sacrilegious- screw you hipsters) but still one of the better shows I’ve been to this year. The Hold Steady have a positive energy that is infectious and undeniable. A re-affirming musical experience.
Not in popularity, but literally the biggest band I’ve ever seen. With nine touring members crowding a stage, they dwarf even Skynyrd. And the recession doesn’t seem to be cutting into their payroll at all, since they have a guy who stands front-and-center for the whole show playing only tambourine and maracas. A little excessive maybe, but he is definitely one of the more animated members up there.
Enough about that. The band is known primarily for their neo-psychedelic sound that is straight out of 1968. With five guitars on stage (two or three electric six-strings, an acoustic, and an electric twelve-string…not to mention the occasional sitar), they create a sonic blast that washes right over you.
However, the band was plagued by bad sound that night and I didn’t get to experience the wall of sound I was expecting. Riffs tended to be rather muddy, but it lent itself to the genre they were trying to ape. Fidelity wasn’t the biggest attribute in late 60′s psychedelia.
What they do do really well is create a textured, mid-tempo sound that builds and swirls all around you. Vocals are rather limited to simplicity, shared between leading members Anton Newcombe and Matt Hollywood. Unfortunately, I couldn’t understand a damn word all night so I don’t really know what they were trying to say.
Outside of the drummer and Mr. Tambourine Man, the band didn’t exude much energy at all. Of course, there wasn’t much room left up there for acrobatics. But still, they looked rather bored and jaded and didn’t seem to be enjoying much of anything. They vocalized their beef with the sound, but it didn’t get much better throughout the night.
The more Jager and beer I drank, the more I tended to enjoy myself. I could expect that it would be a helluva show if you were on an acid trip. In fact, one guy there seemed to know this all too well. He was definitely altered out of his mind, kept bumping into people, and had a tic that made Robin Williams seem calm.
At the end of the show as people were leaving, one of their guitar players got into a pissing match with an unruly male audience member. Both of them screamed back and forth for a while before the bouncers threw the guy out. I don’t know what the fight was about, but it definitely was not the best note to end on.
If Keith Moon were still alive and didn’t play drums for the Who, he would definitely play for Meeting of Important People.
I caught them for the first time at their CD Release show this past Saturday in Pittsburgh. I’ve heard the name mentioned in musicians’ circles around town before, but never got to hear them live or on disc.
Normally when you hear Garage Rock, it can easily go either way. More often than not it’s the not-so-good kind. But not this time. The band opened up with an instrumental piece that had a bad-ass guitar and bass groove that wrapped itself around a raucous beat. Definitely got my attention and the crowd of hipsters dancing around.
Their songs are simple and catchy, yet not forced or annoying like so many indie bands these days. It reminded me of “I Can’t Explain”-era Who. Simple, delicate melodies, in-your-face guitar riffs, bouncing bass, and crash-bang-boom drums. A really well-executed, deconstructed sound that a lot of bands go for but just can’t pull off. Meeting definitely has it down.
Every song I heard that night had energy and attitude. On the record, everything comes together to really nail the vintage sound-even with the production values-without sounding hokey or fake. Doubled Byrds and Kinks styled vocals = Killer. This could easily be 1966.
The Indie Rock trend in this town has become much more good-times oriented over the last few years. But not many bands could really make it believable, until now. The old dark and brooding hipster sound has been replaced with upbeat rhythms and catchy melodies. It’s Indie Pop Music done right for once. And MOIP are bringing back the fun and rebellion of the 1960s British Mod Invasion. Listen to “Dead Man” on their Myspace page for a taste of what they do.
I dare you to not like it.
Upcoming Dates
Apr 23 2009 10:00P
Sierra Grille Northampton, Massachusetts
Apr 24 2009 8:00P
51 3rd Troy, New York
Apr 25 2009 8:00P
Modern Formations **All-Ages** Pittsburgh, Pennsylvania
Revving myself up to see this pop-rock sextet, I streamed Lydia’s latest album, Illuminate, from the band’s website all week and, I’ll admit, the tunes have grown on me in that pleasantly infectious-but-not- nauseatingly-poppy kind of way.
Thanks to some train troubles, I missed opening act Black Gold, but Lydia leapt into their set promptly on time (early?) to a comfortably full and attentive crowd of head-bouncing, bootleg-video-shooting, singing fans.
Knowing next to nothing about this band, I soaked up the show at face value and found no pretenses, no dramatization in their performance. These guys were having fun without relying on cheap ploys and props for added silliness; lead vocalist and Leighton Antelman chatted with the crowd without that forced stage banter many bands awkwardly recite; and each member behaved with a focus that never seemed contrived. Maybe it had to do with the fact that Leighton and the rest of the band were a bit under the weather (requisite of any band’s first headlining tour, after all). I wouldn’t have noticed had Leighton not apologized three or four songs into what he said would be a short set. (It came to a satisfying half hour.)
The performance was cozy and fitting in the small, brick-lined walls of the Mercury Lounge. The stage looked to be at max capacity with the six musicians (and, might I add, all twelve of their impeccably chiseled cheekbones) and their respective instruments. Perhaps embracing the intimacy, Leighton beckoned the beer-sipping crowd of twentysomethings to move closer.
The band alternated between selections from Lydia’s debut This December, It’s One More and I’m Free and Illuminate. Leighton sipped a paper cup of tea between songs, and his soft, scratchy vocals balanced beautifully with keyboardist Mindy White’s haunting, milky smooth verses in songs like “Now the One You Once Loved is Leaving”; one voice never overpowered the other.
Mindy helmed the keyboard for the bulk of the show (trading spots with Leighton toward the end), and the melodies danced lightly around rhythmic guitars and subdued drums characteristic of such catchy, yet melancholy, indie-pop stylings. (During various songs, I was reminded momentarily of Taking Back Sunday, Coheed and Cambria, and Brand New, among others. I mean that nicely).
Live versions stayed relatively true to their recordings; generally I prefer bands throwing in jams, solos, and variations on studio tracks I’ve listened to countless times, but my unfamiliarity with the band kept me captivated—a separate challenge in itself, as it’s pretty tough to get wrapped up in the live performance of a band for which you have no predisposed affinity. This is as much a credit to Lydia’s crisp performance as to the music’s enchanting harmonies and a distinguishable sound.
As the final tune wrapped up, one by one each member set down his/her respective instrument and solemnly stepped off stage, one by one, walking through the standing audience whose attention was fixed to the stage until only Leighton and drummer Craig Taylor remained; they played a few last notes, and then smiled and thanked the audience. All in all, a solid show. Check them out.
A friend of mine asked me last week if I wanted to check out a band called The Old Ceremony at the Mercury Lounge. I hadn’t heard of them, so I went to the Mercury Lounge Web site and read, “The Old Ceremony draws their water from a deep well of music ranging from the Beatles to Beck, Leadbelly to Led Zeppelin. Unorthodox instrumentation meets superb songwriting to create a unique interpretation of brooding, orchestral rock’n'roll.” Sounded good enough to me. I was excited about checking out a new band, but as Sunday night approached, I began to regret my decision. Not because of the band, but because it was snowing and cold out, I had to get up really early on Monday, and I did not get enough done over the weekend. Once my friend decided not to go because of the weather, I also considered staying in, but I decided to go anyway. I said I was going to review it for this site, and I like to follow through.
I made it to the show right before the second band started their set (I missed out on Backwords). The Mercury Lounge is a pretty small venue, with some couches along the walls. I guess the snow detracted a lot of people, because there was barely anyone standing, most people taking up the few seats. I sat down and found it hard to concentrate on Two Dark Birds. I had a lot of other things on my mind, but their music is pretty mellow, and it started to relax me. The audience was warm, but not overly enthusiastic, and a few people were talking more than listening. During a song called “23,” I overheard someone near me saying to his companion, “That song is for you,” which made me feel old, but the crowd was pretty disparate in terms of age.
As more and more people started filling the venue, I noticed they would congregate in the back, which struck me as odd, but I figured it was so as not to block the view for those sitting on the sides. The next act was The Chris Stamey Trio (though at some points there were four of them onstage). Stamey was pretty quiet between numbers and he later said he didn’t want to talk between the songs because people would rather talk to each other than listen to the artist talk. Good point, although it probably depends on the artist.
Finally, The Old Ceremony came on. By this point, the place had filled up substantially and the audience had moved towards the front of the venue, but it was by no means full. The crowd was pretty into it–singing along and even dancing (real dancing, not the typical head bop). I assume they were all pretty big fans or they wouldn’t have trekked out in the snow. I did like the band, but I could never fully get into the show, which was not the fault of the musicians. They were talented performers and endearing personalities, joking about how we all had to spend the night as we were snowed in.
Should I have skipped out on the concert? Maybe, since I was barely present enough mentally to write a review of it, but I did like The Old Ceremony enough to check them out again under different (warmer) circumstances. I’d recommend catching their tour. Check out some of their songs on their site, especially “Plate Tectonics” and “Get To Love.”
Last night I met up with an old friend at a random show I knew nothing about.
“These guys are like old-school (Red Hot Chili) Peppers…They got this funky vibe thing going on…actually, it’s a little crazy how much they rip them off.”
That was my intro to the band The Force, who blends the Star Wars geekiness and sexuality of its name perfectly.
The first thing you notice before their live show is Lord Scyentifik’s hair. He’s a white guy with a massive afro, the kind of guy you see on the subway/bus/park bench and whispher “What an asshole” to yourself. This all fades the second you see him perform on stage.
Familiar sounds of funk rock immediately fill the air as Lord jumps up and down on stage while women in the front start dancing, thankful they picked tonight to wear the push-up bra. It’s not so much that they want to dance as it is they have to. Once the funk gets in you, there is no control. Even my buddy pulled out some Michael Jacks-now moves while carrying on a conversation about his fight to rid the world of being dependent on oil.
I know. Hard to explain. Here’s a video of the band from a year ago for a taste.
See? The hair is everywhere.
And I’m not gonna lie. I wasn’t expecting much and really only ran out on a Friday night to get hammered. But the Force, like its name suggests, makes you listen to them and, in some cases, inspires your body to move in unnatural, should-only-be-done-at-home, ways.
This isn’t the dark side. It’s the sexy rock side and exists in a galaxy far, far away.
Worlds are set to collide this summer when the forces of Al Green, Animal Collective and Bruce Springsteen descend upon the Bonnaroo Festival, which will either start a strange musical jam or erupt into an unholy genre war where no one will be safe.
Either way, it’ll be interesting.
Truth be told, I’m a little perplexed at the lineup, though not so vexed that I’m shocked. I had heard grumblings about this festival changing its…identity (right word?) and it appears 2009 will be the year Bonnaroo sends a friend request to its “everyone else” list.
There are some gems. Girl Talk is slated to be there (though I feel he should be playing in some seedy club located in a dirty basement that isn’t his…it would at least feel better), as well as Wilco and the Mars Volta.
Oh, and some band named Phish. That’s right. Get your weed ready because the music won’t seem right without it.
Am I wrong? Or doesn’t this list seem a bit off. Maybe I’m over thinking things. Or maybe I’m just bitter since I can never afford to go.
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David Gray: Making it acceptable for PDA whenever his music is played
*Not from last night’s show
