Originally, this was intended to be a preview for Dawes, the young L.A.-based band with a terrific debut album, North Hills (complete with tightly written songs, quality harmonies and some good old-fashioned guitar love), and even better live show, headlining The Bowery Ballroom tonight for the very first time—with Corey Chisel & the Wandering Sons and Jason Boesel. But it seems unfair to preview a show that’s already sold out. And a review of tonight’s show is, quite frankly, a bit premature since it hasn’t happened yet. So, instead of a preview or a review, think of this as just a view: Check out Dawes, above, playing the sure-to-get-stuck-in-your-head “When My Time Comes” and, below, covering the Beatles’ “With a Little Help from My Friends.” And then you’ll know that the next time Dawes comes to town you shouldn’t be so slow in deciding to get a ticket because, seriously, these guys kick ass.
Daniel Lanois’ Black Dub - The Bowery Ballroom - February 17, 2010
While Daniel Lanois and Black Dub played The Bowery Ballroom last night, they were filmed by a cameraman roving around the stage with the images projected onto a giant screen behind them. The black-and-white video gave the effect of watching a documentary film about the concert while it was actually going on—a shaky-cam, true-to-life rendering in real time. It had a nice enhancing effect on the music, a jagged, emotional set of Lanois’ unique dreamlike pop.
The first group of songs was dominated by Trixie Whitley’s vocals. If ever lyrics were belted out, these were. Whitley proved to be more than just a pretty face and a powerful voice as she moved throughout the night from a second drum kit to rhythm guitar and to keys, meshing quite well with Lanois. The real power behind the band came from the rhythm section, particularly Brian Blade on drums, who was the ever-churning, rumbling fuel to the fire. His energy, intensity and insanely proficient chops set the tone for each song. Occasionally the camera would get behind Blade and give a first-person view of what it’s like to make a drum kit bend to your will—a true moment of cinema verité.
Lanois led his band expertly, following the initial Whitley-lead section with an absolutely gorgeous pedal-steel instrumental duet with Blade. It wouldn’t be a Daniel Lanois show without some superlative, haunting pedal steel and he delivered here: The music filled The Bowery, sounding like it was coming from behind and above, like some heavenly music. For the rest of the time, Lanois played straight-up guitar, and the highlights came toward the end of the set with wonderfully drawn out, heavy versions of “The Maker” and “Ring the Alarm.”—A. Stein
The post-punk UK band Editors—singer-guitarist Tom Smith, guitarist Chris Urbanowicz, bassist Russell Leetch and drummer Ed Lay—released their first album, The Back Room, in 2005. The buzz from that earned them appearances at Coachella and Lollapalooza the following year. The band’s second disc, An End Has a Start, released in 2007, went platinum in the UK the very day it was released. Not wanting to rest on their laurels, the guys in Editors (above, playing “Papillon” on Later…with Jools Holland) opted to take their sound in a different direction in choosing to use synthesizers on 2009’s In This Light and on This Evening rather than sticking with the dark guitar rock they’d employed on their previous two albums. But you can judge which style you like best when Editors (with the Antlers and the Dig) play Terminal 5 tomorrow night.
Want to go but don’t have tickets? Then try to win two from The House List. Just fill out the form below, listing your name, e-mail address, which show you’re to win tickets to (Editors, 2/19) and a brief message explaining which Winter Olympic sport is your favorite and why. Eddie Bruiser, who does not care for figure skating, will notify the winner tomorrow. Good luck.
Dan Black is a multitalented electronica musician at the forefront of Wonky Pop. He sang and played guitar with the Servant until they disbanded in 2007, and he’s also sung with the Italian electronic-dance group Planet Funk. But he began to gain more attention a couple of years ago when he moved into solo work. He first found success with “HYPNTZ”—mixing lyrics from Biggie Smalls’ “Hypnotize” over a sample of Rihanna’s “Umbrella”—and then later with the singles “Alone” and “Yours.” And just two days ago, Black’s debut album, UN, finally came out in the U.S. Which, of course, brings us to the point: Dan Black (above, playing “Symphonies” on the French show Le Grand Journal) plays Mercury Lounge tomorrow night. You should be there.
Toward the beginning of the second set of Trey Anastasio’s marathon show at Terminal 5 last night, someone tossed the Phish guitarist a Brian Leetch USA hockey jersey, which he displayed on his amp the rest of the night and then wore during the encore. It was appropriate because Anastasio was playing like an Olympian. From the get-go, it was pure joy, as the mind-probing lights seemed to be induced purely by his smile and energy. Hopping around the stage like a moguls skier, he eased his band into the evening with strong versions of “Push On ’Til the Day,”“Mozambique” and “Gotta Jibboo.”
The Classic TAB, with a horn section and a bass-drums-keys rhythm section backing Anastasio, acted more like a jazz ensemble than a jam band. While it would have been easy for everything to devolve into filler between axe solos, Anastasio has fleshed out this side project with its own fully functioning repertoire. This got mixed up a bit at the end of the first set with an extended solo acoustic sing-along featuring the typically rocking Phish songs “Sample in a Jar,”“Chalkdust Torture” and “Wilson” that was pure joy for musician and audience alike. The second set featured counterintuitively horn-heavy covers of classic-rock staples “Black Dog” (mightily sung by Jennifer the trumpet player) and “Sultans of Swing.”
Still the highlights of the night were when the band relaxed into a groove and Anastasio just shredded. The band reduced to a quartet on songs like “Jibboo” and “Sand”—the bass and drums transforming into gates in a slalom downhill, and Anastasio barreling downhill, gaining momentum and dangerous speeds, with just fractions of a second the difference between gold and crashing and burning. And at the critical moment, the horns would return for a tremendous climax, and there was no question about who would be taking the podium. —A. Stein
Mumford & Sons play The Bowery Ballroom on Thursday. Great, right? Unfortunately, the show is sold out. But if you really want to see these English folk rockers, you’ve still got a chance because The House List is giving away two tickets. Want to Grow a Pair? Then just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets for (Mumford & Sons, 2/18) and a brief message explaining your best bet to get past the February blahs. Eddie Bruiser, a bigger fan of spring than winter, will notify the winner by noon on Thursday. Good luck.
It’s an exciting experience to see a new band live. Will the group sound like the music on their record? How will they present their material? Does their appearance match their sound? While these questions—and others—color the perception of a concert, they are ultimately just subtext to the performance. The visceral feeling from the first chord, note, or sound leaves an indelible impression. At Phantogram’s sold-out show at Mercury Lounge on Friday, it was the initial beat of “As Far as I Can See” that silenced doubt and stuck in the crowd’s collective conscience.
Phantogram is the moniker for guitarist Josh Carter and keyboardist Sarah Barthel’s band. Hailing from Saratoga Springs, N.Y., the duo recently released their debut album, Eyelid Movies. In one sense, their sound feels familiar, evoking comparisons to such contemporaries as Beach House and Portishead. But, as their album demonstrates, they also have a unique depth and variety to their music, which sets them apart. On tracks like “When I’m Small,” elements of hip-hop and electronic rock fuse together with Barthel’s soft, beautiful vocals for spectacular results.
Once Carter and Barthel took the stage, following Junk Culture’s set, the crowd swelled in size. How droves of people heard about this rising band is unknown, but judging from the attendance, word is spreading rapidly. In addition to their setup of guitar, keyboard and samplers, Phantogram provided a foot-pedal-activated strobe light and an artistic visual display projected onto a sheet. The accompaniment made for a tremendously dynamic and engaging show. During “All Dried Up,” night shots of a barren highway complemented the dark, serene tune. And so in both sound and appearance, Phantogram exceeded expectations. —Jared Levy
Art Neville was the keyboardist and a singer for the Meters, one of the most influential bands in American-music history—and quite possibly the greatest funk band of all time. Later on, his youngest brother, Cyril, joined the group as a percussionist and vocalist. Something must’ve clicked because when the Meters broke up in the late ’70s, Art and Cyril, along with their other brothers, Charles (sax) and Aaron (singer), formed the Neville Brothers. With their delicate harmonies and predilection for funk, they became one of the top purveyors of the NOLA sound.
Mac Rebennack was born in New Orleans in 1940. His musical career, as a guitarist, took off in the late ’50s. But following an accident, he had to drop the guitar, so he focused on playing the bass and then, with Professor Longhair as an important influence, turned to the piano. Several years later, in the early ’60s, Mac Rebennack moved from LA to L.A. and somewhere along the way, with time and the help of his winning combination of blues, jazz, pop, boogie-woogie and Zydeco, the singer-songwriter was reborn as Dr. John. His live shows, known for R&B, psychedelic rock and a little a bit of voodoo hoodoo, earned him a cult following—and the attention of Eric Clapton and Mick Jagger. Ultimately, though, he’ll probably always be known for the albums Gris-Gris, Dr. John’s Gumbo, In the Right Place and Desitively Bonnaroo (a name music-festival fans might recognize).
And the best news of all is that both the Neville Brothers and Dr. John (above, playing “Iko Iko”) are playing The Wellmont Theatre tomorrow night, and The House List is giving away two tickets. Want to go? Then fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Nevilles/Dr. John, 2/13) and a brief message telling us what you love about New Orleans music. The winner will be notified later today.
Singer-songwriter Jonathan Richman began playing the guitar at the age of 15 and was playing in public just a year later. He relocated from Boston to New York City in 1969, but his music didn’t get a lot of love, so he headed back north and formed the influential protopunk band the Modern Lovers. Wanting a quieter sound, Richman eventually turned the Modern Lovers into an acoustic group, most notable for their doo-wop sound and the funny lyrics that would remain a hallmark of his later solo work. Richman earned the most attention his career would get thanks to the Farrelly brothers featuring him and his music essentially as a comedic Greek chorus in There’s Something About Mary. But, believe it or not, that flick came out nearly 12 years ago, and Richman (above, playing “Everyday Clothes” on Late Night with Conan O’Brien) still has plenty left to say. So come check him out this weekend, when he plays Music Hall of Williamsburg on Friday, Saturday and Sunday.
Let’s get the first question answered right away: No, Harlem is not a band from Harlem. In fact, the self-proclaimed “tiniest band in the world,” began in Tucson, Ariz., before heading to Austin, Texas, where they made a name for themselves with their fantastic live shows, a Cover of the Month Club and their self-issued LP, Free Drugs. The band consists of dual vocalists Michael Coomers and Curtis O’Mara, who switch between guitar and drums, and bassist Jose Boyer. Their specialty is in fun-loving, lo-fi music with interesting song titles, like “I’m on Drugs” and “Psychedelic Tits.” They’ve got a new album coming out later this year. But you can hear the trio’s new music when Harlem plays Mercury Lounge tonight. Check them out, above, playing “Witchgreens,” and then brave the snow and come see them play live.
Brooklyn’s Yeasayer exists somewhere between an indeterminate futurism and the completely recognizable past. Like a laser-charged Krautrock band playing in British Mandate-era Palestine or like Depeche Mode performing in postcolonial Delhi, the band is undeniably synthesized, tribal and born back into the future. At a sold-out Bowery Ballroom, the reference game would prove useful as they took the stage amidst sea-sick colors and flashing lights.
Yeasayer opened with the unsettling and familiar first track from their latest record, Odd Blood, “The Children.” With vocals set in an artificially low register and pulsing, almost breathing industrial soundscapes, “The Children” was the edgy, creepy start to a set that would only equal one of the previous two descriptors. Relying heavily on material from the new album, out today, the group powered through “Love Me Girl,” “Madder Red” and “Remember,” although not necessarily in that order. There was an air of science to the exoticism, like Yeasayer had shown up to mediate sound, rather than actually produce it. Far more the medium for the cacophony than its creator, it was almost like they were the dimmer for the lights pulsing around them.
Yeasayer, the guys who used to practice in their apartment on Prospect Avenue in South Park Slope, closed their main set with “Ambling Alp” and “O.N.E,” the two singles off Odd Blood. The words of the middle of their set—from “Remember”—were still echoing around in the top recesses of The Bowery Ballroom: “You’re stuck in my mind/ All the time.” People wouldn’t forget this. And then loops peeled off into nowhere, and the band shuffled around between here and some indefinite never forever. —Geoff Nelson
Singer-songwriter Josh Ritter’s seventh album, So Runs the World Away, comes out in May. And later that month, he and the Royal City Band will play Town Hall on the 19th (on sale Friday at noon) and 20th. But since that’s way too long from now to wait to hear his new music, check it out for yourself by downloading “Change of Time” here.
(Josh Ritter, above, plays “To the Dogs or Whoever” on Late Show with David Letterman.)
Citizen Cope has six sold-out shows this week. Obviously those tickets went quickly. But guess what? The House List is giving away two to this Saturday’s show at The Bowery Ballroom. Want to Grow a Pair? Then fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Citizen Cope, 2/13) and a brief message telling us how you’re celebrating the Saints’ Super Bowl win (Lombardi Gras). Eddie Bruiser, who didn’t win money but still can’t stop smiling, will notify the winner on Friday. Buena suerte.
One of the few things New York City and New Orleans have in common is that each city needs little excuse for a party. Day ending in y? Party! Home team is playing this weekend? Party! So put the finest purveyors of New Orleans funk onstage at NYC’s Terminal 5 on a Friday, two nights before the big game featuring the Saints, and you shouldn’t be surprised by what you get—a big, fat “Who Dat?” fiesta!
Galactic got deep into it from the get-go. It seems they have a new twist whenever they hit the road, and this time was no different with trombonist Corey Henry, of Rebirth Brass Band, expanding the horn section and adding vocals, and Cyril Neville, of NOLA stalwarts the Meters and the Neville Brothers, joining in on percussion and vocals. The boys in the band were more than happy to play backup for long stretches of the evening, ceding the stage to their guests as the set twisted through dark gypsy funk, some hip-hop and plenty of down-home funk.
The unmistakable highlight of the evening came when Tea Leaf Green’s Trevor Garrod and Josh Clark—their band opened and seemed to squeeze a Grateful Dead-show’s worth of music into their generous 75-minute slot—joined Galactic onstage for a couple of tunes that were “by request” from visitors to the band’s Web site. The result was a fantastic detour into some classic rock as Galactic once again became the backing band to their guests, who nailed covers of the Band’s take on the Holland/Dozier/Holland classic “Don’t Do It” and the Rolling Stones’ “Can’t You Hear Me Knocking.” Clark turned the funk party into a raging rock and roll show, peaking with the guitar jam out of the Stones tune, which just may have single-handedly averted the path of the snowstorm coming up the East Coast. —A. Stein
Hot Chip - Music Hall of Williamsburg - February 6, 2010
After four albums, British electropop band Hot Chip is better than ever. The group, consisting of Alexis Taylor, Joe Goddard, Owen Clarke, Al Doyle and Felix Martin, makes synth-heavy earworms that compel your body to move. Their most recent album, One Life Stand, shows wily songwriting and an expansion of the band’s signature sound. Before a European tour to promote the record, Hot Chip made a couple of stops in New York City, including a sold-out show at Music Hall of Williamsburg on Saturday.
From the moment I stepped into the venue, I felt as though I was in a rave. People in the crowd hypnotically pounded their fists to the thumping electronic drum loops. The band, evenly dispersed across the stage, conducted themselves like elder statesmen. Lead singer Taylor delivered his uniquely unassuming and vulnerable vocals while shifting through a number of instruments. Goddard stood stalwart, singing his rhythmically spaced parts. All the while, Clarke, Doyle and Martin created an electronic symphony. The band’s set list displayed their virtuosity and the depth of their catalog. Three songs into their performance, Hot Chip played a rearranged version of “Boy from School” complete with a handclap beat. Although Doyle primarily plays guitar, he complemented the song with his dynamic steel-drum playing.
Weaving through tunes from their previous albums, The Warning and Made in the Dark, Hot Chip cleverly adapted “Ready for the Floor” and brought down the house with “Over and Over.” The crowd was also eagerly introduced to new songs like “One Life Stand” and “Take It In.” After monstrous applause at the end of set, Hot Chip responded with a four-song encore that slowed down the tempo. For a crowd that wildly danced and devotedly sang along, it was a perfect ending to a fantastic performance. —Jared Levy
It’s hard to even imagine what it would have been like to see the Cure perform in a club the size of Mercury Lounge in the early ’80s. You can’t just chalk it up to pure nostalgia—there’s definitely a reason their sound still resonates through any number of music subsets today. Cold Cave, a band whose name actually describes it perfectly, is one of the direct descendants of that sound. Legend has it the band formed when Wesley Eisold left a successful Boston punk band and started messing around with thrift-store Casio keyboards alongside friends Caralee McElroy, of Xiu Xiu, and Dominick Fernow, of experimental noise band Prurient. Their first 7″ single, “Painted Nails,” was released on Fernow’s Hospital Productions label and has brought about something of a resurgence of Cold Wave minimalist synth that traces its roots directly back to Kraftwerk, Throbbing Gristle and, of course, the original post-punks, Joy Division.
An emaciated Eisold barely moved behind a massive Moog voyager, but he worked up a sweat singing in his slight crooning baritone, with an ingrained punk burst of nihilistic vocals, hands clasped behind his back, looking scarily close to Mr. “Love Will Tear Us Apart” himself. Eisold barely mumbled “thanks” before going into the next pounding inhuman beat from Cold Cave’s debut, Love Comes Close. McElroy played off Eisold’s darkness with her own heavily echoed melodic delivery on songs like “Life Magazine” and providing a back-and-forth harmony on “The Tree’s Grew Emotions and Died,” sort of like an industrial Goth version of the Human League.
The three members of Cold Cave, all dressed in black, use their impressive display of technology, minus the nostalgia, thanks to Fernow, whose sheer massive solo catalog of sound manipulation takes each arrangement to a place other New Wave throwback acts just can’t follow. (Simply playing with every piece of an analog synth keyboard is no substitution for knowing which sounds you want to hear and actually willing them out of the circuits.) The music stays perpetually focused on the icy, emotionless sound, straddling a line between undanceable and undeniably catchy. And all of it comes from three keyboards, just like on Trans-Europe Express. The entire New Wave ’80s wished they sounded this good. —Jason Dean
Those Darlins write songs that effectively mix country, pop, punk and rock. The trio—Kelley Darlin (bass), Jessi Darlin (guitar) and Nikki Darlin (baritone ukulele)—hails from Murfreesboro, Tenn., but they record their music here in NYC. So in a way, their show tomorrow night at The Bowery Ballroom (with the So So Glos and Pine Hill Haints opening) is a sort of homecoming. While it’s true that Those Darlins (above, playing “Wild One”) are a band comprised entirely of ladies, they’d rather be known for their rowdy performances (“There are fucking tons of dude bands out there and they’re not described as an all-male band,” says Nikki), which have charmed audiences across the country and have garnered them a fair amount of positive press. Find out for yourself why in person tomorrow night.
The House List is giving away two tickets to tomorrow’s show. Want to go? Then just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Those Darlins, 2/5) and a brief message telling us what you’d be doing if you weren’t at this show. The winner will be notified on Friday.
