Regina Spektor charms sold-out crowd at NYC's Beacon Theatre, 6/17/09

With a new album (Far) coming out June 23, Regina Spektor has been keeping herself busy. Though she has tour dates lined up through September after her album drops, this didn't stop her from performing a sold-out show in New York City's Beacon Theatre Wednesday night.

Spektor charmed the audience from the second she took the stage in a simple black outfit, which made her look like she was ready for a piano recital. Though she was aware of the adoring audience, which was filled with people who cheered enthusiastically and even gave her flowers towards the end of her set, Spektor couldn't stop gushing about how thrilling (and occasionally nerve wracking) it was for her to be there. When the person in charge of lighting took a moment to shine the lights throughout the otherwise darkened venue, Spektor laughed nervously as she realized how many people were there. "Now I can see them all!" she exclaimed. But a few seconds later she added that it was "really nice" getting a chance to see everyone there.

The set focused largely on Spektor's newer material from Far, including the single "Laughing With," but that didn't stop anyone from enjoying the show. Spektor's strong vocals and brilliant piano playing — only occasionally backed by a small string section and drums — had everyone's attention, even if the material wasn't always familiar to us. She eventually mixed things up by throwing in a few songs from Begin to Hope including the fascinating "Apres Moi. And she even touched upon some older material like "Poor Little Rich Boy" (complete with Spektor drumming on a chair while playing her piano) and "Consequence of Sounds" (which she performed with great spirit after a false start).

The concert was a perfect showcase for Spektor's talent and charisma, which are even more overwhelming in a live setting. For two hours that night, it was easy to forget about the world outside as I sat there watching her perform.

Setlist: Folding Chair, Lucky Penny, Time is All Around, Eet, The Calculation, Machine, One More Time with Feeling, On the Radio, Blue Lips, Riot Gear, Laughing With, Bobbing for Apples, That Time, Apres Moi, Human of the Year, Poor Little Rich Boy, Holocaust, Consequence of Sounds, Man of a Thousand Faces

Encore: Samson, Us, Fidelity

(Crossposted at Pop Wenches)

Doves return to NYC at Terminal 5: 6/4/09

There are some bands out there that have a pretty good following. They get excellent press and they have a solid amount of fans. Yet, they still manage to "fly under the radar." The UK's Doves totally fit this bill.

But their Thursday night concert at New York City's Terminal 5 — their first in the city in approximately four years — would have suggested otherwise. The venue was packed with adoring fans (even the bizarre, obnoxiously rowdy types behind me seemed to know all the lyrics to each song), excited to catch the band in the area. As even bassist/singer Jimi Goodwin pointed out, it had been far "too long."

The band, noted for being consistently solid live, did a great job despite some sound issues that popped up here and there. The sound problems seem to be a Terminal 5 thing for the most part — I've read and heard numerous complaints about the venue since I first went there to see The National perform, and I suppose there is some truth to what people have said. Goodwin wound up spending the first few songs motioning at the sound and monitor guys to adjust the mix.

But with or without sound issues, the band powered through a set featuring numerous songs from their current album Kingdom of Rust, alongside a good mix of songs from their first three albums, thrilling the crowd immensely when they performed songs like "Snowden," "The Cedar Room," and "Caught By the River" to name a few. "Black and White Town" from 2005's Some Cities was one of the big hits during the night, prompting a good chunk of the crowd to dance along with fists pumping.

Doves' newer material also translated well to the stage, with audience members transfixed during Kingdom of Rust's title track and "10:03," which proved to be one of the more beautiful performances of the night. The band succeeded in recreating the moody, moving quality of their studio recordings onstage, transporting many of us in the audience into what felt like another realm. While it's a real shame that Doves aren't bigger than they are, their live shows indicate that they are truly passionate about their art, which is the best gift a band can give their fans.

Watch footage of Doves performing "Kingdom of Rust" and "Here It Comes" (from 2000's Lost Souls, with drummer Andy Williams taking over lead vocals) at Terminal 5 below. The full setlist follows at the end of this post.





Setlist: Jetstream, Snowden, Winter Hill, Rise, Pounding, Almost Forgot Myself, 10:03, Words, The Greatest Denier, Kingdom of Rust, Ambition, Black & White Town, The Outsiders, Caught By the River

Encore: The Cedar Room, Here it Comes, Last Broadcast, There Goes the Fear

(Crossposted at Pop Wenches)

Art Brut kick off Mercury Lounge residency in NYC; 6/1/09

Loud, fast, silly... yet sincere. These are some of the terms one could use to describe Art Brut, the English/German punk band that started a residency at New York's Mercury Lounge last night. The band played to a sold-out crowd that ate up frontman Eddie Argos' every word, performing songs taken from all three of their albums.

Despite suffering some recent back problems (which he referred to a few times during the night) Argos was in top form as he "jumped rope" with his microphone cord, waxed poetic about comics like Booster Gold, and relayed personal anecdotes to accompany his sometimes equally personal lyrics. He even plunged right into the audience, staying there for a good few minutes, while performing "Modern Art."

The band and audience kept playing off each other the entire night, making it one of the most energetic small shows I've seen in ages. Between their never-ending (successful) attempts to keep us entertained and Argos' lyrics about topics like a love of DC comics and chocolate milkshakes, the band just made us feel like we were all hanging out with a bunch of old friends and acting silly. Only, Art Brut are the types of friends who play sold-out, week-long residencies and get to perform encores after a room full of people shout "Art Brut, Top of the Pops!" Some people just have all the luck.

Setlist: Alcoholics Unanimous, Direct Hit, Modern Art, Summer Job, Rusted Guns, What a Rush, Emily Kane, Demons Out, DC Comics and Chocolate Milkshakes, Pump Up the Volume, Good Weekend, Positively 5th Street, My Little Brother, Nag Nag Nag Nag

Encore: Bang Bang Rock n' Roll, 18000 Lira, Post Soothing Out

(Crossposted at Pop Wenches)

Franz Ferdinand play NYC's Roseland Ballroom, 5/7/09

Franz Ferdinand first came on the scene five years ago, with a self-titled debut that is arguably still their most popular album to this day. But the band is still alive and kicking, and currently touring in support of their latest album Tonight: Franz Ferdinand.

I finally got a chance to see them live at New York City's Roseland Ballroom this past Thursday, and I'm glad to say that they truly lived up to their reputation as a fantastic live act. The band members seemed genuinely excited to perform in the packed venue, and their constant energy was infectious, causing attendees to dance and sing along throughout the show.
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Frontman Alex Kapranos oozed confidence, swaggering and pouting in true rock star fashion, while jumping around and throwing in some high kicks. It was impressive to see how well he could still play while performing these antics. He also threw in a bit of humor, poking fun at guitarist/keyboardist Nick McCarthy, who injured his foot during this tour. Kapranos referred to McCarthy as the man with "one and a half feet," and the good-natured McCarthy grinned and made it a point to wave his crutches around every time he hobbled on and off stage.

As far as the set was concerned, the band did a good job of mixing things up by including well-loved songs from their debut, as well as their previous album You Could Have It So Much Better. The band fiddled with the tempo on songs like "Walk Away," and there were times when Kapranos just skipped the singing altogether to let the audience fill in the words. Songs like " 40' " (much "trippier" live) became major highlights during the show.

The concert wound down with a high-energy encore, starting with "Ulysses" and continuing with "Lucid Dreams," which was the epitome of organized chaos. Opening act Born Ruffians joined Franz Ferdinand for the latter, pounding away at a drum kit during the song's synthesizer-fueled ending. Franz Ferdinand then brought down the house with their final song of the night, "This Fire," nearly causing a riot near the front of the stage where attendees danced and jumped around in a fervor that caused the floor to shake. "We're gonna burn this city," indeed.

Watch an excerpt of Franz performing "The Fallen" (the opener from You Could Have It So Much Better) during Thursday night's concert, and then check out the full setlist below:


Setlist: Bite Hard, Dark of the Matinee, No You Girls, Tell Her Tonight, The Fallen, Michael, Turn it On, Walk Away, Twilight Omens, Do You Want To, Take Me Out, What She Came For, 40', Outsiders

Encore: Ulysses, Lucid Dreams, This Fire

(Crossposted at Pop Wenches)

Morrissey plays the Wellmont Theatre, NJ: 3/16/09

The first time I saw Morrissey was two years ago, during the third of five consecutive nights at the Hammerstein Ballroom in New York City. My friend and I had pretty good spots, thanks to our general admission tickets, and we were so thrilled that we decided it wasn't necessary for us to see Morrissey again — unless The Smiths miraculously reformed.

But a few months ago, when we found out Morrissey was about to embark on a tour featuring significantly smaller venues, we decided we just had to see him one more time. After failing to snag highly-coveted tickets to him perform during a Saturday night show at the Bowery Ballroom, we wound up obtaining tickets for the Wellmont Theatre in Montclair, NJ. While the venue isn't as intimate as Bowery is, the concert was well worth it.

The setlist itself wasn't anything particularly spectacular, but it did have its highlights. Morrissey kicked things off with The Smiths' classic, "This Charming Man," and then plowed through a set that included additional Smiths songs such as "How Soon is Now?" and "Ask," along with a handful of older solo material, songs from You Are the Quarry and his latest offering, Years of Refusal. Interestingly enough, he eschewed tracks from 2006's Ringleader of the Tormentors, an album I personally find middling at best.

While Morrissey himself was relatively low key during the show, keeping the theatrics to a minimum when he wasn't throwing the shirts he was wearing out into the audience, there were still plenty of opportunities to witness the type of spectacle one comes to expect at Morrissey concerts.

Fans hung onto to every word, holding their arms out and singing along to old and new material alike. And when Morrissey came out at the end to deliver an encore of "First of the Gang to Die," fans began crowdsurfing en masse in a desperate (and sometimes successful) attempt to try touching Morrissey's hand before he left the stage. Those last few moments were exhilaratingly intense, even for those of us who weren't trying to reach the stage, a perfect reminder of why Morrissey concerts tend to draw such a dedicated following.

Setlist:
This Charming Man, Billy Budd, Black Cloud, How Soon is Now, Irish Blood English Heart, Let Me Kiss You, I'm Throwing My Arms Around Paris, Ask, How Could Anyone Possibly Know How I Feel, The Loop, Death of a Disco Dancer, Something is Squeezing My Skull, Seasick Yet Still Docked, Why Don't You Find Out For Yourself, Best Friend on the Payroll, Mama Lay Softly on the Riverbed, Sorry Doesn't Help, I Keep Mine Hidden, The World is Full of Crashing Bores, I'm OK By Myself

Encore
First of the Gang to Die

(Crossposted at Pop Wenches)

Fleet Foxes play NYC's Grand Ballroom, 10.4.08

Just months after playing smaller venues like the Bowery Ballroom this past summer, Seattle's Fleet Foxes returned to New York City to perform at the appropriately-named Grand Ballroom at Manhattan Center on Saturday.

The band members were chipper throughout the night and despite their growing fame, they seemed humble as well — frontman Robin Pecknold paused several times to comment on the strangeness of performing in a venue larger than the ones they'd played before. Performing songs from the Sun Giant EP and their self-titled album, which were both released this year, the band kicked things off "Sun Giant" and "Sun it Rises." The ballroom was soon filled with the Fleet Foxes' trademark heavenly harmonies and audience members seemed mesmerized by the blend of folk, rock and pop melodies, which successfully replicated and expanded upon the band's studio recordings.

But while the band members are clearly serious about their craft, they were not averse to cracking jokes and interacting with audience members. In fact, the banter began from the moment the Fleet Foxes took the stage. Band members laughed together and congratulated each other if one of them made a particularly hilarious zinger. Pecknold chatted with audience members who called out anecdotes from their favorite shows and when one concertgoer shouted out "Come As You Are" between songs, the band laughed as Christian Wargo obliged the crowd by subtly playing the opening notes to the Nirvana classic on his bass.

The band began wrapping things up with two solo performances by Pecknold, who decided to go unplugged, singing without a mic for "Katie Cruel." His voice carried surprisingly well and when he signaled that he would be plugging in for "Tiger Mountain Peasant Song," audience members pleaded against it. Pecknold gave in and performed without the mic again, receiving thunderous applause when he was done. The band played a new song titled "Silver City" after Pecknold's solo showcase, and while they kept pointing out that it was a work in progress, it seemed pretty complete. The night finally came to a close with "Blue Ridge Mountains," followed by gracious thank you gestures from the band.

Though the Fleet Foxes are relatively new in the grand scheme of the music world, they could be around for a very long time if they keep cranking out stellar recordings and leave audiences smiling the same way those at Grand Ballroom were by the end of Saturday's show.

Sigur Rós Play Packed Uptown NYC Venue, 9.18.08

Sigur Rós isn't the type of band that fits any particular labels. The music features elements of post-rock, shoegaze, and even classical sounds. Frontman Jónsi Birgisson — known for his powerful falsetto — tends to sing a number of the songs in a made-up language of sorts, "Hopelandic," in addition to singing in the band's native Icelandic. And yet, while one wouldn't expect the band to have much widespread success due to its not-so-mainstream sound, the members of Sigur Rós have a remarkable ability to draw diverse crowds to their shows. Thursday night was a perfect example, as fans flocked far uptown to New York's United Palace Theatre, for a mesmerizing performance.

Sigur Rós performed for approximately two hours, choosing to play songs featured on a variety of their albums, ranging from their 1999 album Ágætis byrjun to their latest release. Even though the majority of people in attendance — myself included — couldn't really understand the lyrics, many cheered excitedly at the beginning of each song in a show of recognition. Lights and video projections flooded the stage, contributing to the otherworldly atmosphere evoked by the band's moody music. Even though Sigur Rós performed as a four-piece that night, unaccompanied by the string and horn players that have often toured with them in the past, their songs were as richly textured as their studio recordings and seemed to mesmerize the audience. Birgisson's vocals were equally powerful, bursting through the venue as he played his bowed guitar vigorously.

While the band members gave their all throughout the concert, some of the show's greatest moments took place at the end of the night. The band concluded the main part of its set with the upbeat "Gobbledigook," the first track on their latest album, with Birgisson asking the audience to stand up, sing and clap along to the music. Members of opening act, Parachutes, also took the stage with additional drums to keep the beat, as rainbow colored lights flashed through the venue. The packed venue was filled with clapping audience members and confetti flew through the air as the song built up to its triumphant climax. By the time the song was over, both Sigur Rós and the audience seemed exhilarated, with smiles all around.

Sigur Rós ended the night on an even more incredible note, with a two-song encore. Birgisson dedicated the first song, "Illgresi," one of the band's more minimalist tunes, to one of their crew members who couldn't be at the show because he had pneumonia. And then the band chose to kick things up a notch with "Track 8," also known as "Popplagid" or "The Pop Song," which started out gently and ended with a shattering climax that had people screaming for more by the time the band left the stage.

Sigur Rós only took the stage one more time to thank the audience and bow graciously — but judging by the applause and the subsequent excited chatter as the crowd made its way to the subway after the show, the band had clearly made quite an impression, showing that even the "strangest" of music can have a strong effect on listeners.

Radiohead Light up Camden Concert, 8.12.08

Just days after headlining two dates at the All Points West festival in Jersey City, Radiohead continued their tour by playing one last New Jersey date Tuesday night at Camden's Susquehanna Bank Center. The venue was packed with fans who had started lining up hours before the show. By the time the band took the stage, the excitement could be felt everywhere, from the pit to the lawn.

Cheers resonated throughout the center as Radiohead took the stage and started the night with "15 Step," the opening track from their latest album, In Rainbows. Fans danced and sang as frontman Thom Yorke bopped around the stage — and the energy only escalated as the band pulled out a "triple-drum attack" for their next song, "There There." In fact, every song the band played was greeted by enthusiasm and even though the crowd got a little quieter during slower numbers like "All I Need" and "Videotape," many concertgoers either sang or mouthed along to nearly every lyric. An intensely colorful light show, accompanied by beautifully-shot live video footage on big screens, only enhanced the experience further.

The band performed In Rainbows in its entirety and even threw in "Go Slowly," a track from the album's bonus disc. But the band also went back to previous material from four of their previous albums, only excluding songs from their debut album and 2001's Amnesiac. Each song featured the textured layers that Radiohead are well known for and certain songs such as "The Gloaming," which features a punchy bassline when it's played live, took on a whole new sound. Meanwhile, Yorke's voice was in top form, conveying an assorted array of emotions. He hit the majority of his notes to the point of near perfection and it felt as though the entire crowd was holding its breath right before he hit one of his trademark falsettos during a performance of "Nude."


Even though they weren't particularly chatty, the band members were in high spirits throughout the night. When he wasn't at an instrument, Yorke did his trademark spasmodic dance moves for many of the songs, including the classic "Idioteque." In addition to referring to the piano as a "pianoforte" and introducing "Go Slowly" as a "slow song for a good reason," Yorke was smiling during most of the set and made it a point to thank the audience periodically. And despite the fact that they've been touring for nearly two decades, Yorke's fellow band members seemed thrilled by the size of the audience, grinning at each other and at concertgoers as the night wore on. At one point, guitarist Jonny Greenwood — who also played around with radios, keyboards and more during the show — just stood still, brushing his hair out of his eyes to stare at the crowd in front of him.


The band closed the night with two encores, which featured a total of eight songs. Guitarist Ed O'Brien and bassist Colin Greenwood seemed excited as they came back onstage, laughing and clapping along with the audience. Though the band decided to skip two of their biggest hits — "Karma Police" and "Paranoid Android" — they did play three songs from their second album The Bends during the encores, including the opening track, "Planet Telex," which hasn't been played much during this tour. Emotions seemed to run wild during songs like OK Computer's "Lucky," especially when Yorke sang the line, "It's going to be a glorious day."


Radiohead ended the night with Everything in Its Right Place from 2000's Kid A, with Yorke singing a couple of lines from R.E.M.'s "The One I Love" before launching into the song. As the song came to a close, each band member took turns going off stage. Yorke went first, grinning and waving at the crowd, and his bandmates slowly followed as they completed their portions of the song. By the end, a sample of Yorke's looped vocals resonated through the venue before the band's crew finally pulled the plug.

Even though the concert ultimately featured a total of 25 songs, the two hour set seemed to go by a lot faster than it really did. Personally, I feel this is the second best show I've ever attended — the only other concert to beat this one is the first Radiohead show I ever went to back in 2001. And judging by other fans' awed reactions by the time the night was over, it looks like Radiohead's longstanding reputation as one of the best live acts in the world is still very much well deserved.

Complete Setlist:
15 Step, There There, Morning Bell, All I Need, The National Anthem, Videotape, Weird Fishes/Arpeggi, The Gloaming, Where I End and You Begin, Faust Arp, No Surprises, Jigsaw Falling Into Place, The Bends, Idioteque, Climbing Up the Walls, Nude, Bodysnatchers
Encore 1: House of Cards, Lucky, Go Slowly, Just, Street Spirit
Encore 2: Reckoner, Planet Telex, Everything in its Right Place

(You may also view this review here).

Supergrass Shake Up NYC Crowd, 7.30.08

England's Supergrass spent most of July touring with the Foo Fighters in different venues throughout the United States. But on Wednesday night, the band ended their series of US tour dates by headlining a packed show at New York City's Webster Hall.

The crowd went wild as the band took the stage and kicked things off with "Diamond Hoo Ha Man," the opening track from their latest album, Diamond Hoo Ha. Crunchy guitars and pounding rhythms permeated the venue as the audience sang and bopped to the beat. And though Supergrass spent the first chunk of the show playing some other tracks from the newest album, including "Bad Blood" and "Rebel in You," they also mixed things up by throwing in a few older tunes like "Moving" from the band's self-titled third album. While some songs had a more abrupt sound, others like "Sun Hits the Sky" from In it for the Money, filled the room with their explosive, swirling guitar noises.

The band members stayed energetic throughout the show and gave their all as the night went on. Lead singer Gaz Coombes was drenched in sweat as he darted around the stage cheerfully, rocking out and encouraging the audience to dance, clap or sing along. And while the band members were charmingly gracious at times, complimenting the crowd and city for being "lovely," they weren't above cursing or acting silly either. Fans were treated to a bit of mock fighting and a goofy false start before drummer Danny Goffey took over the vocals for "Ghost of a Friend." At another point, Coombes decided to ask attendees how they liked his striped shirt.

After performing "Butterfly," the closer from Diamond Hoo Ha, Coombes announced that the band would be devoting some time to their older material. The crowd got even more enthusiastic — you could feel the floor shaking during some of the more popular songs and a lot of people sang their hearts out during the likes of "Pumping On Your Stereo."

It seems that the audience didn't want the band to leave at all during the night and so, Supergrass took the stage one last time for a three-song encore as the crowd chanted their name repeatedly. The band concluded the show with a punchy performance of their first single, 1994's "Caught By the Fuzz," with Coombes throwing himself onto Goffey's drum kit when they were done — a perfect ending for such a lively summer show.

(You may also view this review here).

Damon Albarn 'Presents' the Honest Jon's Revue in New York, 7.12.08

Damon Albarn has built a reputation for being one of the more eclectic musicians out there. From fronting Britpop legends Blur to voicing 2D, of the virtual band Gorillaz, he's managed to defy genres by associating himself with a variety of musical acts.

On Saturday night, Albarn took the stage at New York City's Avery Fisher Hall with an international group of musicians. The show titled, "Damon Albarn & The Honest Jon's Revue," was part of this year's Lincoln Center Festival and featured numerous acts affiliated with Honest Jon's, a London-based record label.

The stage — clogged with instruments, and draped with flags representing the United States, Canada, France, Mali, and more — was a perfect setting for the mishmosh of music we were treated to that night. The musicians included The Hypnotic Brass Ensemble, Afel Bocoum Band, and folk singer Victoria Williams. Renowned Afrobeat drummer Tony Allen and guitarist Simon Tong — who both collaborated with Albarn on last year's The Good The Bad and The Queen record — were also part of the lineup.

Albarn didn't actually take the spotlight until the show's conclusion. Instead, he played keyboards and the melodica as accompaniment to his fellow artists' music, occasionally laughing, dancing, and clapping in response to the talents that were on display. And Albarn wasn't alone in performing such antics — the members of the Hypnotic Brass Ensemble whipped out their lighters and cell phones during vocalist/guitarist Simone White's quiet, yet quirky performance. Later on, after an enthusiastic performer impressed the crowd by playing the bass while holding it behind his head, an audience member actually got up to give him a high five.

The two-hour show consisted of a medley of soul, folk, jazz, and traditional African music (namely from Mali), providing the audience with an opportunity to hear some instruments that are rarely heard in this part of the world. I was personally really impressed to see Kokanko Sata — a female musician from Mali — play the kamelen n'goni, a three-stringed harp of sorts, which is typically an instrument only played by men.

The night came to an end with Albarn taking center stage for a ten-minute performance of "Sunset Coming On," a song featured on his 2002 collaborative project, Mali Music. This was the perfect closer for the night — starting out peacefully with Albarn's distinct, soothing vocals at the forefront and ending with a high-energy, percussion-driven climax that featured all the performers either dancing, singing or playing along with each other. Even audience members stood up to clap and dance to the music.

As soul singer Candi Stanton told the audience earlier in the night, "Music is the international language." And the Honest Jon's Revue, with its fusion of cultures and musical genres, really drove this point home by the time the show was over.

(You may also view this review here).

R.E.M. Prove Their Legendary Status, 6.19.08

New York's Madison Square Garden was the place to be Thursday night, thanks to a brilliant performance by the legendary R.E.M. Featuring a lively light show, funky camera work relayed on projection screens, and a hefty dose of biting political commentary courtesy of singer Michael Stipe, the concert proved that the band still knows exactly how to hold a crowd's attention.

Stipe was in top form throughout the night, dressed in a sharp suit while lithely dancing around the stage, smiling and occasionally making self-deprecating remarks. "This song is like from the year 1740," he joked while introducing "Ignoreland" from 1992's Automatic for the People, and at another point, he even asked one of the audience members if he needed earplugs since he looked so "miserable."

While R.E.M. did play a good amount of material from their latest album, Accelerate, they also threw in some old favorites and even some lesser-known tracks. The band actually played three songs from 1984's Reckoning, with bass player Mike Mills singing and taking center stage for "(Don't Go Back to) Rockville." Newer songs such as "Man-Sized Wreath," "I'm Gonna DJ," and "Supernatural Superserious" fared well as they were packed with an extra dose of energy that made them sound even better live. Stipe's voice was incredibly clear and sounded remarkably unchanged as it resonated throughout the venue.

Of course, classic hits such as "The One I Love" and "Losing My Religion" were greeted with some of the most excited cheers heard during the night. I have to admit that cliche as it may seem, hearing thousands of people sing along to those songs was incredible, and a perfect indication of why major arena shows can be a ton of fun even when you don't have the best seats in the house.

Though he was very much the rock star, striking grandiose poses while performing some of the band's biggest hits, Stipe also remained humble and credited other talents. He gave multiple shout outs to the night's opening acts, Modest Mouse and The National, even commenting that he found it hard not to steal ideas from them because they were "just that good." And he also gave concertgoers some love towards the end of the show, asking for the house lights to go on so that he could see his "people."

Former The Smiths-guitarist Johnny Marr — now a member of Modest Mouse — was invited onstage for the last portion of the encore. As a fan of both The Smiths and R.E.M., it was really thrilling for me to see Marr alongside Peter Buck, considering this was also my first R.E.M. show. The concert finally came to an end with an exhilarating rendition of "Man on the Moon," and judging by the smiles on people's faces as they left the venue, it was obvious that they had indeed been "having fun."

Overall, it was just a really great night for music fans, as the previously mentioned opening acts also put on some very strong performances. Brooklyn's The National went on at 7 p.m. sharp and while the crowd was only just assembling at this time, the band received a very positive reaction during their 10-song set. Each song was accented by singer Matt Berninger's rich baritone and gloriously textured instrumentals. Cheers were audible as the band launched into "Fake Empire," the opener from their latest album, Boxer. And in a moment that foreshadowed some of Stipe's later political commentary, Berninger said that their last song — "Mr. November" — was "for Barack."

Modest Mouse also kept the entertainment going before R.E.M took the stage. Avoiding their biggest hit "Float On" during their set, the band did play material from their latest album, along with songs like "Dance Hall" and "Satin in a Coffin." The set was peppered with a liberal use of the banjo, two drum kits, and Johnny Marr's guitar work. At one point, maracas were literally flying through the air so that they could be used intermittently during one of the songs.

Though all three bands represent slightly different eras of music, all were able to put on cohesive shows that highlighted their strengths, making it an impressive lineup worth the ticket price. And though they've been around for years, even releasing some poorly-received material, one thing was certain after seeing R.E.M. — they are still a band that should be seen at least once in one's lifetime.

(You may also view this review here).

Rooney Heat Up Irving Plaza (NY), 6.15.08

Summer doesn't "officially" start until the end of this week, but L.A. band Rooney brought a piece of the season to The Fillmore New York at Irving Plaza on Sunday night, playing an upbeat set for a venue full of screaming fans.

The band played a hefty mix of songs from their self-titled debut and last year's Calling the World, along with a couple of covers and a bonus track titled "Get Away." Fans greeted each song with enthusiasm, singing along to favorites such as "Blueside,""I'm Shakin',"Are You Afraid?" and "When Did Your Heart Go Missing?" I actually had a chance to see Rooney last year before Calling the World was released, and while the music was really catchy, it was a lot more fun to hear the songs now that I'm more familiar with them.

The music was a perfect blend of pop rock, occasionally psychedelic guitars and keyboards, and some very '80s-inspired riffs. Lead singer Robert Schwartzman was oozing with charm throughout the night and was clearly well aware of his adoring fans, even teasing them at one point by pretending he was about to stage dive.

The night ended with a two-song encore, with Schartzman playfully spraying a bottle of water into the crowd as the band took the stage again. After performing "If it Were Up To Me" from their debut, Rooney launched into a rollicking cover of The Beatles' "Helter Skelter," with guitarist Taylor Locke and drummer Ned Brower trading vocal duties. As the song came to an end, Schwartzman leaned into the crowd and fans swarmed him, reaching to touch his guitar and hair.

While Rooney's set was exciting in itself, their opening acts also put on some very strong performances. The Bridges, consisting of four siblings and their cousin Brittany Painter on lead vocals, were on first and I have to admit I was pleasantly surprised. The band played songs featuring a good amount of piano-centric pop and lush harmonies from their recently-released debut album, Limits of the Sky. Judging by the cheers and applause, it seems that a lot of people appreciated their set.

That being said, it was Locksley — the second opening act — who really seemed to set the tone for the night. The Brooklyn-based group were on fire from the moment they took the stage, jumping all over the place, and climbing on top of amps and speakers as their set went on. The music was equally energetic, guitar-heavy and full of pounding rhythms. Their cover of The White Stripes' "Hotel Yorba" was a perfect illustration of their garage rock influences.

Locksley managed to keep the crowd screaming with excitement throughout their performance and at one point, it almost felt a bit like the second coming of Beatlemania. Thanks to a mix of high energy, good music, and fun-filled audience interaction, it seems that the members of Locksley made some new fans during the night — a pretty impressive feat, considering how many opening acts tend to leave audiences cold.

(You may also view this review here).

Clinic Get the Bowery Bopping, 5.31.08

Eclectic Liverpool quartet, Clinic, played the last of a series of recent US tour dates Saturday night at New York City's Bowery Ballroom. The place was pretty packed and the band didn't disappoint, delivering an hour of upbeat music that had attendees bopping along to the foot-stomping rhythms that pervaded the venue.

Clad in Hawaiian shirts and their trademark surgical masks, Clinic were able to play a hefty mix of music from their quirky catalog. Vocalist/multi-instrumentalist Ade Blackburn informed us that they would actually be playing two sets for us that night. The first consisted of the entire tracklisting from their latest album, Do It!, while the second set featured various songs from previous albums. The newer material was fantastic live and all the songs seemed to carry an extra jolt of energy, while still sounding similar to their studio counterparts.

While the audience was enthusiastic and seemed to have a lot of fun listening to the new album's material, I think we were all even more excited during the second set. "The Second Line" from 2000's Internal Wrangler was greeted by loud cheers and many shouted along with Blackburn when he called out "No!" intermittently while performing the title track from 2002's Walking With Thee. The excitement prevailed during the encore, which the band kicked off with "The Return of Evil Bill."

The night featured a mixture of crunchy guitar and organ sounds, accompanied by fast, tight rhythms — and you could hear elements of punk, garage rock, and even the blues in the music. But even though most of Clinic's music is an amalgamation of sounds and genres, there is something unique and fresh about it, which makes it a lot of fun to hear live.

Opening act BBQ's set was also pretty solid and played a good part in loosening up the crowd a bit before Clinic took the stage. BBQ — which is essentially Mark Sultan, a one-man band playing guitar and a partial drumkit — played a mostly continuous set, peppered with occasional humorous banter. At one point, it looked as though his set was going to have to end early, after a faulty amp finally failed him about fifteen minutes into his performance. The audience actually seemed sad to see him go, but BBQ was able to return and complete his portion of the show.

As the set came to an end, BBQ poked fun at the audience for simply standing around, saying that people could dance, clap, or even sulk during his next song, if that was the "cool" thing to do. Luckily, he managed to make most attendees laugh, just in time to enjoy themselves even more when Clinic took the stage.

Wire Rock the Seaport, 5.30.08

New York City's South Street Seaport is an area where you can find all sorts of things — food, shopping, and the occasional free concert. This past Friday night was no exception as post-punk legends, Wire, were on hand to kick off a series of free summer shows. And while three decades have passed since their debut album's release, the band still has what it takes to draw a crowd and play good music.

Despite the fact that singer/guitarist Colin Newman occasionally referred to a laptop, presumably to look up the setlist and some lyrics, the band really managed to stay on point throughout the night. The music was catchy and roughly abrupt, still retaining remnants of the revolutionary quality found in their earlier records. Interestingly, the band members didn't play as much early material as one might have expected. "Three Girl Rhumba" and "Mannequin" from 1977's Pink Flag, which are probably familiar even to those who don't really listen to Wire, were noticeably absent from the set.

In fact, Wire took Friday night's show as an opportunity to play material from their newest album, Object 47, which is set for a July release. The new tracks that were performed included "One of Us," "Mekon Headman," and "Perspex Icon." Even though these songs were unfamiliar, I personally felt they blended in well with the rest of the band's discography. The crowd around me, which consisted of older and younger fans, also seemed to enjoy them quite a bit.


While the band was pretty laid back for the most part, we had a chance to witness some onstage banter. Bassist Graham Lewis was the most energetic one of the bunch, interjecting the occasional sarcastic remark in between songs. And at one point, the audience was thanked for not seeing the Eagles — who were performing at Madison Square Garden that night — since they had been "the enemy" back in 1977.

The night ended with two enthusiastically-received encores, which featured "Lowdown," "12 XU," and the title track from Pink Flag. There was something electrifying about those final moments, indicating that Wire's members have not lost their edge, and making it a solid start to a summer of free music.

(You may also view this review here).

The Verve Play Second NYC Show, 4.29.08

After surviving multiple breakups, The Verve are back. The British rockers, best known for their late-nineties single "Bittersweet Symphony," played the second of two shows at the WaMu Theater at Madison Square Garden on Tuesday night. It's been years since the band, currently in its original four-person lineup, last toured the United States. Despite this, Tuesday night's concert proved that they can still put on a great live show.

The Verve opened the night with "A New Decade," the first track on 1995's A Northern Soul. Lead singer Richard Ashcroft's voice was clear and resonated throughout the venue, holding its own against the psychedelic swirling sounds of the accompanying music. The setlist featured a large number of songs from 1997's Urban Hymns, even though the band has plenty of older material along with plans to release a new album this year. That being said, the band did play a few older songs that included a b-side and "Already There" from their 1993 full-length debut, A Storm in Heaven. They also included two new songs: "Sit and Wonder" and "Love is Pain."

Though I didn't have the best seats in the house, it was clear that the band members were having a good time. Ashcroft was a mesmerizing free spirit, lightly dancing on his bare feet as he pumped his fists and motioned to the crowd. He continued to prance around slightly even when he picked up the guitar for various songs. Ashcroft was also fairly chatty throughout the night. In addition to voicing the occasional "thank you" and making a slight public service announcement that warned against dropping acid in the studio, he told the crowd a variety of anecdotes, referring to stopping at the Chelsea Hotel during their first time in New York and a subsequent disastrous gig. He ended the story by saying that the experience had been great anyway, since it was New York after all, resulting in a roar of approval from the crowd.

Guitarist Nick McCabe and bass player Simon Jones were also fairly energized, and shared a warm moment towards the end of the night when the two of them hugged at the conclusion of "Come On." While the night had its mellow moments with songs like "Sonnet" and "The Drugs Don't Work," the set grew increasingly upbeat as the show went on. "Rolling People" was a raucous hit with the crowd, with flashing lights accentuating the beats at the start of the song. "Lucky Man" was also incredibly popular with the concertgoers and it seems the entire crowd was singing along. And "Come On," the last song before the encore, turned into controlled chaos in its final minutes with lights flashing at every millisecond to accompany the cacophonous music. But while it was neat to witness this, it might not be a bad idea for the band to opt for a less intensified light show during the end of that song.

The Verve finally performed "Bittersweet Symphony" at the end of the night, playing the song first during a two-song encore. Screams echoed through the crowd as the familiar string samples filled the air and many sang along as Ashcroft, donned in a black coat that was slightly reminiscent of the song's iconic music video, launched into the verse. While Ashcroft performed with enthusiasm, he stopped a couple of times, choosing to let the crowd sing during some of the song's crucial moments. Cliche as it may sound, I couldn't help singing my heart out during the song as it brought back a lot of memories. Though the song is considered a classic at this point, it's hard to believe that it's actually a decade old.

The night finally ended with a performance of "Love is Pain," one of the aforementioned new songs. It was an upbeat way to end the night. The song contained a dance element that made me wonder if the band is going through some kind of New Order phase, but people seemed to have a mixed reaction to it as they left the show. The sample used during the song was a bit much, but I am interested to hear what the final cut will sound like if the band chooses to record it for the next album.

All in all, it was a great night and it looks as though The Verve will be able to make a pretty solid comeback. Even though they didn't play a lot of new material during the show, the band sounded fresh and seemed happy — a good sign for the future.

(You may also view this review here).

The French Kicks Complete Mercury Lounge Residency, 4.15.08

With their latest album currently available online via iTunes and hitting stores in May, The French Kicks are keeping themselves busy with a series of tour dates. On Tuesday night, the band completed a three-week residency at New York City's Mercury Lounge by playing an intimate, sold-out show.

The band took the stage shortly after 11 p.m. with the trademark opening drum riff of "One More Time" filling the room before frontman Nick Stumpf launched into the song's mournfully melodious vocals.

Stumpf crooned into his mic throughout the night, jerking his body around slightly to match the tight rhythms of the accompanying music. While his movements were far from violent, he was clearly feeling the music, especially when he managed to knock the mic stand offstage in the middle of "One More Time." Luckily, no one was hurt and the show continued without a hitch as a concertgoer shoved the stand back.

The French Kicks showcased numerous songs from Swimming, their newest record, with Stumpf simply introducing a couple of the songs according to their track numbers. The new material, which isn't a tremendous departure from the band's previous work, featured infectious elements of pop and garage rock and was well-received by the audience.

But the band also made it a point to include earlier material throughout the show. Stumpf referred to songs like "Crying Just for Show" from One Time Bells as an "oldie," and the audience cheered excitedly and bopped to the beat when the band played the title track from 2004's The Trial of the Century. Towards the end of the night, the band went the old-school route with a high-spirited cover of The Troggs' "With a Girl Like You."

Stumpf remained a gracious performer throughout the night, naming his bandmates both during the beginning and end of the show, and thanking the crowd at the end of numerous songs. While he kept his hands free of instruments at times, he spent the majority of the concert taking alternate turns at playing the guitar, keyboard and bass. Similarly, guitarist Josh Wise took over lead vocals for a few songs, indicating that this is a band that doesn't mind mixing things up from time to time.

It seems the night was ultimately a success for the band, who came back for a two-song encore as the lingering audience cheered for more. The French Kicks may not make the kind of music that can capture large audiences and fill up stadiums. But their somewhat minimalist, catchy hooks are well suited for smaller settings, where their live shows are capable of surpassing the energy of their mellower studio recordings.




(You may also check out this review here.)

Caribou Play NYC's Bowery Ballroom, 3.28.08

Caribou put on a high-energy show Friday night in New York City's Bowery Ballroom, providing the packed venue with a night of eclectic and solid musicianship.

It was my first time seeing Caribou, masterminded by multi-instrumentalist and vocalist Dan Snaith, in a live capacity. Even though I don't fall into the category of die-hard fan, I was curious to hear how the music translated live. I'm happy to report that those of us attending the concert were not left disappointed, as many of the songs sounded even better than their studio counterparts.

The set up was simple enough. Snaith and three more musicians (Andy Lloyd, Ryan Smith, and Brad Weber) played a set of approximately 90 minutes, rarely pausing to speak to the audience and barely creating a scene. Psychedelic graphics were projected onto a backdrop, mirroring the sixties-inspired aspects of Caribou's music.


The music itself was gorgeous, with lush and textured instrumentation by a band that clearly wants to sound its very best. The setlist included a variety of songs from Caribou's catalogue including the breezy "Melody Day," "Sundialing," and the recent single "She's the One" from 2007's Andorra. While there were a few occasions where the vocals seemed to get drowned out by the instrumentation, this didn't hurt the songs' overall sound, especially since the vocals don't tend to be the main focus of Caribou's music.

The percussion was easily the highlight of the night, with the drum kits set up right in the middle of the stage. Drummer Brad Weber was a powerful performer who only broke out of his trancelike state a few times to smile for an appreciative crowd. The intensity of his drumming increased throughout the night and at one point, culminated with him actually clamoring on top of his drum kit with concertgoers shouting, "Incredible!"


And of course, Snaith was equally inspiring throughout his performance, deftly switching from guitar, to keyboard, to drums throughout the night — he even whipped out the woodwinds at one point! But once again, it was best when he took on the drums, going head to head with Weber. The dueling-drum effect had the whole crowd bopping their heads and swaying to the rhythms. I've been to other shows with incredible drumming, but this was one of the first times I found myself so fascinated by it. It's pretty rare for percussion to be given the front-and-center treatment, which may be why I found it so mesmerizing.

Caribou ended the night on a high note, coming back for a one-song encore where a bandmate announced that Snaith had turned 30 years old while performing on stage. After yet another energetic percussive performance, the band left the stage, to cries of "Happy Birthday!" from the crowd.

The Fuck Buttons, who opened for Caribou, were also pretty fantastic and eclectic. Using electronic equipment and percussion instruments, the duo played a gapless 40-minute set that combined tribal rhythms, the sampled sounds of spacey chimes and grinding guitars, along with angry distorted vocals that never detracted from the music itself. The set maintained a moody atmosphere throughout, even as it grew increasingly energized via the presence of thumping beats.

The act was able to get a somewhat positive reaction out of some audience members, which is a promising sign considering how many opening acts have left the crowd cold at other concerts I've attended. Though the set did feel like it was dragging slightly towards the end, the Fuck Buttons put on a strong performance, contributing to a great night for music fans who were looking for something that was both fun and experimental.

(You may also check out this review here).

The National Play Terminal 5 (NYC, 10/11/07)

Brooklyn-based The National played the inaugural concert at New York City's Terminal 5 last Thursday to a sold-out crowd of approximately 3,000 attendees. 



Frontman Matt Berninger put on a mesmerizing, if slightly conflicted performance. He spent most of the night with his eyes shut, clutching the mic close to his body as he sang to his adoring audience. But while Berninger typically seemed awkward and somewhat unaware of what to do with himself in between songs, he also displayed a more lighthearted side by joking with the audience before the concert began. Later on, right before the band's two-song encore, he poured a bottle of champagne — which he then passed along to the front row — onstage to celebrate the venue's opening.


The rest of Berninger's bandmates were also a delight. The music was spot-on, the Dessner brothers provided lush guitar and bass backdrops, and Padma Newsome — who accompanied the band on violin and keyboards — nearly stole the show at certain points. Highlights of the show included "Fake Empire" (the opener on this year’s Boxer), which resulted in a majestic climax featuring a trumpet and trombone player. By the end of the song's performance, the entire band seemed exhilarated as members grinned at each other onstage. Other songs, like "Secret Meeting," contained an extra energy that the album versions lack. And Berninger performed the second and final song of the encore, "Mr. November," with wild abandon, screaming and kicking at speakers as he darted around the stage. 



The National may not seem like the sort of band destined for superstardom; their slow rise in popularity is an indication that the band's music tends to grow on its listeners. But the energy and beautiful musical arrangements at their live shows demonstrate that this is a band that deserves the acclaim it receives. And they're most certainly a band worth checking out in person.

Yeah Yeah Yeahs play NYC's Webster Hall, 8/7/07

There's no doubt about it. Karen O is most definitely a rock star. And her antics — and concert-goers' reactions — at Tuesday night's Yeah Yeah Yeahs concert are certainly proof of this fact.

Now it's true that Karen O's been doing her schtick — which involves bizarre dance routines and contortions, spouting water or beer out of her mouth in a manner reminiscent of a park fountain, and toying with her mic in what some might consider a fairly "inappropriate" manner — for quite some time. Even the bondage-inspired costume she wore at the Webster Hall show was remarkably similar to the one she wore at Lollapalooza. But that doesn't mean her shows have gotten any less thrilling for those (such as yours truly) attending.

If anything, Tuesday night's concert showed that the singer is more than willing to give her all to her audience. At most concerts I've attended, the frontman or frontwoman will only take a couple of brief obligatory seconds to walk out towards the audience and touch a fan's hand. Sometimes, they choose to take a few teasing steps without even trying their hand at actual human contact. This isn't necessarily a bad thing, especially considering the fact that there are bound to be some overenthusiastic types in concert settings. Nonetheless, this just doesn't seem to be Karen O's style.


In fact, she made it a point to get as close to her fans as possible, numerous times during multiple songs. Teetering dangerously close to the edge of the stage from time to time, she crouched in front of her adoring fans and held out her hands, grinning slowly as they clamored to get close to her.

And yet in the midst of all this rock star adoration and all her crazy antics, the music never suffered. For all Karen O's screaming and dancing, the vocals were spot-on and the singer was even able to switch in and out of her punk rock sensibilities to sing with vulnerable intensity during songs like "Maps" and "Turn Into." And while the other two Yeah Yeah Yeahs may seem a bit subdued next to their bandmate, Nick Zinner's guitar and Brian Chase's drums were also played with an equally intense energy that mimicked and even improved upon some of their studio recordings.

Those of us in the crowd were treated to samplings from each of the Yeah Yeah Yeahs' EPs and LPs. And each song was greeted by roaring enthusiasm from the crowd (especially those of us getting jostled around in the pit). Capable of playing compelling music while creating a spectacle, the Yeah Yeah Yeahs are pretty brilliant at what they do.

Setlist: Sealings, Untitled New Song, Honeybear, Rockers to Swallow, Phenomena, Cheated Hearts, Gold Lion, Pin, Kiss Kiss, Down Boy, Art Star, Maps, Turn Into, Date With the Night

Encore: Y-Control, Black Tongue, Our Time, Tick