Grow a Pair: Win Free Tickets to the Shins on May 21, 2009

May 18th, 2009

grow_a_pair_trans5

The Shins are still going as strong as ever, which pretty much means sold-out shows wherever they go. They’re playing Terminal 5 on Thursday, and guess what? It’s sold out. But you’ve still got a chance to go because The House List is giving away two tickets. Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (the Shins, 5/21) and a brief message telling us the strangest (true) thing to happen to you last week and you just might be the one to Grow a Pair of free tickets. Eddie Bruiser—who else?—will e-mail the fortunate winner by noon on Thursday, May 21st. Good luck.

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Rodriguez – The Bowery Ballroom – May 15, 2009

May 18th, 2009

While his music could’ve seemed dated, somehow because he hasn’t been playing these same songs night after night for 40 years—and perhaps because his lyrics about disillusionment and rebellion are beginning to ring true again—his material has remained fresh and topical.

Sixto RodriguezLike Paul Pena before him, Sixto Rodriguez remained a cult favorite for a long time before finally earning the acknowledgement and attention he deserves. And just like with the “Jet Airliner” and “Gonna Move” writer, that recognition has come several decades after recording his first two albums. Rodriguez’s Cold Fact and Coming from Reality came out in the early ’70s, and now that they’ve been re-released, he’s on his first-ever U.S. tour at 67.

Onstage at The Bowery on Friday, Rodriguez was calm and cool and dressed all in black with a Yoda-like Zen about him. But his smile made it clear that he was happy to be able to play these songs he’d recorded so many years ago for this rapt audience. The room was comfortably filled. And it seemed like everyone there was concentrating solely on this cool brand of folk rock because there was very little side chatter. Those in the surprisingly young crowd danced and intently sang along to songs like the inquisitive “I Wonder” and the glorious “Sugar Man.”

Rodriguez is still firmly rooted in the ’60s. He wore a peace-sign belt buckle and made several references to not trusting people. Interestingly, while his music could’ve seemed dated, somehow because he hasn’t been playing these same songs night after night for 40 years—and perhaps because his lyrics about disillusionment and rebellion are beginning to ring true again—his material has remained fresh and topical. Much of that has to do with his young, talented seven-piece backing band. The singer-songwriter even acknowledged it after one tune: “That was one of the first songs I ever wrote and it was only the second time I’ve played it in, like, years. But with this band, it cooks.”

Rodriguez capped off the show with a strong solo two-song encore. He played “Forget It,” with the appropriate line “Thanks for your time/Then you can thank me for mine,” before finishing with a lovely cover of “At Last” that came off as appropriately fitting rather than a cliché. “I love you. I won’t forget this,” he said at the conclusion. And judging by his constant smile throughout the show, he probably won’t. —R. Zizmor

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The Shins – The Wellmont Theatre – May 17, 2009

May 18th, 2009

The show built to a 90-minute crescendo where a longer, glorious mood piece segued into a raging, rocking hit. The cloth took on all colors at once, flickering between shades and the crowd went nuts.

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One of the cooler things about the Shins’ show at The Wellmont Sunday night was the backdrop behind the band: strips of white cloth hung from the ceiling to the floor in front of a black curtain, giving a kind of piano-key look to it. There were lights on each strip so that they actually changed colors during the show. It was nothing fancy, but the way each band of cloth absorbed the color, it struck me that they were each every color and no color at all, utterly simple and yet infinite in their possibilities.

The same could be said of the Shins. Were they a plain piece of cloth hung from the rafters or were they a multihued bit of magic? Were they the bright-white quintet that made the packed, SRO crowd scream Beatles-on-Ed Sullivan style when they took the stage or were they the dark-gray group that rocked hard while the audience, on average, stood motionless. Were the vocals—heady two-, three- and four-part harmonies—important enough to mix clear and crisp yellow like they were later in the show or were they incidental to the orange fuzzy garage bass and drums behind them, muddy and incoherent like they were for the first half hour? Were they a band that played quick, blue ditties or the expansive, deep-green Floyd-esque movements? Was the guitar playing that bright, red, clean pop or the drippy, violet psychedelic mixture?

Of course, the answer is all and none. The show built to a 90-minute crescendo where a longer, glorious mood piece segued into a raging, rocking hit. The cloth took on all colors at once, flickering between shades and the crowd went nuts. —A. Stein

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Thao with the Get Down Stay Down – Bowery Ballroom – May 14, 2009

May 15th, 2009

m_cc6a3d4c78b500fdc3c081d4af69698aThao with the Get Down Stay Down brought an endearing indie-rock energy to The Bowery Ballroom last night. Built on infectious handclaps, two-step beats and, at times, bluegrass-like grooves, their music was its own spirited variety of folk rock. It’s a natural sound for this Southern-influenced three-piece, originally from Virginia.

Some bands end a show by bringing the opening acts back out for a big finish, but Thao started the night this way, which was typical of the onstage party that was to come. From the very first note, Thao got down with opening acts Sister Suvi and Samantha Crain, who accompanied the band on vocals and ukulele. Thao bounced around the stage with a hollow-body electric guitar that sounded like it was being played through a beaten-up, old AM radio. She hugged the giant guitar, bent over bouncing, hair flailing, eyes closed, belting out “Bag of Hammers,” which came early in the set to the approval of the audience. She’s the center of the group’s sound with her powerful, expressive voice and poetic lyrics. But it’s not all about her. She’s one of those people who makes sure to get everyone involved—someone who will take your hand and drag you from the corner of the room to make sure you join in. It’s important everyone has a good time.

For the actual encore, every last person from the opening bands returned—as if they’d ever really left—complete with pirate hats and ski caps with built-in Rasta dreads. Thao seemed characteristically at home leading this crew and the Bowery audience in singing along, hands over their heads, clapping their way to the end of the night. —Jason Dean

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Animal Collective – Terminal 5 – May 13, 2009

May 14th, 2009

Animal Collective - Terminal 5 - May 13, 2009

photos courtesy of Gregg Greenwood | www.gregggreenwood.com

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The Pains of Being Pure at Heart – The Bowery Ballroom – May 12, 2009

May 13th, 2009
(Photo: Annie Powers)

(Photo: Annie Powers)

“This is our first show at Bowery and we thought it would be really horrible. But it’s been really fun.” —Peggy Wang

The Pains of Being Pure at Heart play what is known as shoegaze, a genre perfected in the late 1980s by shy, moody kids who strummed their guitars vigorously, buried the vocals deep in the mix and stared down at their feet. (Hence the name.) Good as they are, the Pains are going to have to work at appearing more bummed out. At their sold-out show at The Bowery Ballroom last night, they were positively giddy, overflowing with geeky good cheer and chatting amiably with the crowd between songs. The set was short and sweet—they only have one album plus one EP worth of material—and pretty much flawless. “This is our first show at Bowery and we thought it would be really horrible,” said the keyboardist Peggy Wang. “But it’s been really fun.” So much so that they didn’t gaze at their shoes once. —Joey Pisarcik

The Curious Case of Sixto Rodriguez

May 13th, 2009

You may have never heard of Sixto Diaz Rodriguez, who records music under the name Rodriguez, and that’s OK. He hasn’t really been a part of our national conscience in a long, long time. But that is slowly changing. The Detroit native’s first album, Cold Fact—released in 1970—touched on late-’60s themes of drugs, love, rebellion, war and police brutality. While the album was somewhat of a gem, it floundered on the charts. His follow-up, Coming from Reality, did even worse.

Rodriguez continued to hone his craft, but he also studied for a philosophy degree, became a teacher and ran for multiple political offices. “I ran for city council, I ran for mayor, I ran for state representative. I’ve also run for my life,” he has said. But somewhere along the way, something interesting happened. His albums found an interested audience in apartheid-era South Africa. “They were dealing with the same stuff we were: Why are the powers that be keeping us down?”

The Internet and that ardent South African following led to Cold Fact’s 2008 re-release. First Rodriguez toured South Africa, and to his surprise, his shows were filled with young people, giving his music new blood. And now, at the age of 67, the singer-songwriter is in the midst of his first-ever U.S. tour. Make sure you find out what all the fuss is about by watching this video of the wonderful “Sugar Man” and then see Rodriguez this Friday at The Bowery Ballroom because sometimes good things come to those who wait. —R. Zizmor

See Crystal Antlers Tonight at Mercury Lounge

May 12th, 2009

The hard-rocking Crystal Antlers have toured steadily since their first release, EP, last year. The band is still going strong, and they bring their spacey, sprawling music to Mercury Lounge tonight. Check them out before they leave for Europe. Here, see them performing “Parting Song for the Torn Sky” last year at Pianos.

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Grow a Pair: Win Free Tickets to Dan Deacon on May 16, 2009

May 12th, 2009

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Electronica musician Dan Deacon loves to perform for an audience. And judging by the sweaty dancing going on around him—as he plays from amidst the crowd—at his shows, you’ll love seeing him live. He’s got two shows this Friday at The Bowery Ballroom. The first show sold out quickly and the second one, a late show, is on its way. Fortunately for you, The House List is giving away two tickets to the late show so you can shake off the workweek by shaking it after midnight. Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Dan Deacon, 5/16 late show) and a brief message telling us why you should be the one to Grow a Pair of free tickets. Eddie Bruiser will e-mail the fortunate winner by noon on Friday, May 15th. Good luck.

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Bowery Presents and 826NYC Present: The Prom You Were Promised

May 12th, 2009

We know what you’re thinking: How can I relive my own prom and help a good cause at the same time? That’s easy. Just break out your black-tie duds on May 21st and head directly to Music Hall of Williamsburg to celebrate 826NYC’s The Prom You Were Promised, featuring DJ sets by Vampire Weekend, Pat Mahoney—of LCD Sound System—and Hercules and Love Affair. All proceeds benefit 826 NYC. And to get you in the spirit, we asked Shirley Manson of Garbage about her prom experience. (Check back next Tuesday to see what another of our famous friends has to say about prom.)

Shirley Manson

Shirley Manson

“My school prom was a superdrag. My best friend and I went with two of the lowliest boys on the hotness scale from our class. We felt deeply humiliated, as we’d arrogantly considered ourselves quite a catch. When they came to pick us up, they gave us stuffed beanbag babies. Mine was a gerbil. I wanted to throw it in his face. I wanted a rose or an orchid. What can you do with a gerbil beanbag baby? We went to the prom. The boys avoided all eye contact and conversation with us. They point-blank refused to dance. We went home early and never talked to those boys again. That’s life—never goes quite how you imagine it. Gerbils unite.” —Shirley Manson

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Vivian Girls/Times New Viking – The Bowery Ballroom – May 11, 2009

May 12th, 2009
Vivian Girls (Photo: Austin Warnock)

Vivian Girls (Photo: Austin Warnock)

Toward the very end of Vivian Girls’ energetic set at The Bowery Ballroom, the trio performed a punk rock ballet of sorts. Cassie Ramone crouched on the floor above her guitar, assaulting the strings with a tambourine. She then crossed the stage to join Kickball Katy, who stood there dutifully strumming her bass. Expertly, Katy handed off the instrument to Ramone, who took over without missing a beat. After politely adjusting the strap around her shoulders, Katy approached drummer Ali Koehler, grabbing one drumstick, then another, before finally taking Koehler’s seat, happily banging away. For the final act, Koehler triumphantly picked up Ramone’s abandoned guitar and let out a powerful chord. Suddenly Vivian Girls had seamlessly transitioned into their song “Damaged”—a simple yet mesmerizing feat sure to charm any stragglers not already won over by their fuzzed-out songs, chunky guitar lines and dreamy harmonies.

Times New Viking (Photo: Listen Missy)

Times New Viking (Photo: Listen Missy)

Vivian Girls split the bill with Times New Viking, out of Columbus, Ohio. They’re another dynamic trio lauded for their sludgy, low-fi punk. Driven by guitarist Jared Phillips, Times New Viking relies on the interplay of drummer Adam Elliott and keyboard player Beth Murphy’s oft-shouted vocals. Though their sound is more aggressive than Vivian Girls, both bands favor punchy, abbreviated songs and tend to elicit retro musical comparisons. But surely the greatest musical common ground shared by both is that cozy layer of fuzz. Peel it away, and you’re left with some intricate guitar parts and some damn catchy melodies. But please leave the distortion. Tonight it was undeniable—we like it that way. —Alena Kastin

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The Thermals – The Bowery Ballroom – May 9, 2009

May 12th, 2009
(Photo: Michael Aporius)

(Photo: Michael Aporius)

“Stuffed and woozy from a daylong BBQ-and-beer binge, I walked into a packed Bowery Ballroom to see what the Thermals could do with me.”


It was one of those kinds of Saturday nights: Winter’s long gone, but it’s not quite summer. It’s warm enough for the streets of the Lower East Side to be packed with those going home drunk and those going out to get drunk. Stuffed and woozy from a daylong BBQ-and-beer binge, I walked into a packed Bowery Ballroom to see what the Thermals could do with me.

I may have been on my last legs, but the crowd was just getting going and once the music started, the room was raging. This was happy, sing-along punk music—two- and three-chord ditties characterized mostly by a straight-ahead beat and just-left-of-center bass melodies. If every tune worked at the same pitch, pace and forward velocity, it didn’t seem to matter. Each song pumped up the pumped-up crowd a bit more until people were going airborne and some old-school watch-your-skull crowd surfing provided moments of extracurricular entertainment for those of us toward the back. This was Disney crowd surfing, though. Each surfer was happily collected at the stage like he had just gotten off Thunder Mountain. That pretty much sums up the night.

I kept my feet on the ground and my eyes and ears on that bass player, Kathy Foster. That was a mean, left-handed four-string she was playing. It kept me going long past my breaking point. —A. Stein

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Ben Harper and Relentless7 – Music Hall of Williamsburg – May 8, 2009

May 11th, 2009

Ben Harper and Relentless7

“Thank you for the best Friday night I’ve ever had.” —Ben Harper


Just a few chords into the opening song, “Number with No Name”—the first track on White Lies for Dark Times, released last Tuesday—it was clear that the new music Ben Harper is making with his most recent band, Relentless7, is dirtier, heavier, darker (take your pick) than all of his previous music. It’s a startling but, no doubt, welcome change. The new band includes Jason Mozersky on lead guitar, Jesse Ingalls on bass and keys and Jordan Richardson on drums. Harper took care of lead vocals and alternated between the guitar and the lap steel.

When Harper, who sang all night like he’s got fire in his belly, sat down and played that glorious lap steel on songs like the opener, “Shimmer & Shine,” and “Why Must You Always Dress in Black,” the hard-driving music took on a bluesy grittiness that was especially effective at Music Hall of Williamsburg on what seemed like the first pleasant Friday night in far too long. The set was a well-paced 10 songs. The only tune not from the new album was the searing “Better Way,” from Both Sides of the Gun (recorded with the Innocent Criminals).

Following a short break, the band came back for a strong four-song encore. With the help of the enthusiastic audience, “Another Lonely Day,” from one of Harper’s solo albums, turned into a big old sing-along. After “Faithfully Remain,” the band went into a terrific cover of Queen and David Bowie’s “Under Pressure.” Again, the audience participated, this time by clapping and snapping in time. A rollicking “Up to You Now” followed to close out the show. But the four musicians remained onstage, smiling and exulting in the thunderous applause. Then Harper simply said, “Thank you for the best Friday night I’ve ever had” as the band exited the stage.  —R. Zizmor

See Mike Watt & the Missingmen Tonight at Mercury Lounge

May 8th, 2009

Are you looking for a fun way to end a long, rainy workweek? Then bassist-singer-songwriter Mike Watt (Minutemen, Firehose, the Stooges) has the answer: His most recent band, the punk rock trio Mike Watt & the Missingmen, is playing Mercury Lounge tonight. So check out this Soft Focus interview with him and then hightail it to the Merc tonight. If you miss it, you’ll regret it. And who wants to start a weekend like that?

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Cut Off Your Hands and the So So Glos – Mercury Lounge – May 7, 2009

May 8th, 2009

Some time before 11 p.m., the lead singer of the So So Glos looked out at the audience and said, “I don’t care. But I do.” It was in regard to the people in the crowd and whether they would be clapping for an encore. It was right before the band’s last song or right before the encore they entirely deserved, but never got. It was an evening of contradictions: Untamed energy onstage and flat efforts from a nearly sold-out audience.

Cut Off Your Hands (Photo: Steve Gullick)

Cut Off Your Hands (Photo: Steve Gullick)

For example, Nick Johnson, lead singer of headliner Cut Off Your Hands, collapsed to the ground in the first four measures of their set. He proceeded to flail about like a man possessed. The band, sounding like the Futureheads who grew up listening to Morrissey records, followed in time, with the bassist and guitarist shouting their vocals into their mikes. It was only until after the third song that Johnson looked back at the soundboard and said, “We’re going to need more guitar and more drums and more crowd.” The last part was so quiet it was almost missed. But it was exactly what he meant: We are going to need more crowd. The band then launched into “Turn Cold,” arguably their second-best song.

Cut Off Your Hands have a new guitarist and a bassist who looked delicate enough to break. These were not necessarily the personalities to convert a weeknight audience. But Johnson wouldn’t quit—proceeding to kill himself on the altar of energetic. It was not entirely in vain. During the best moment of the night, he and his mates thrashed through “Happy as Can Be,” and the audience moved in time. The song’s epic, furious conclusion was finally enough to change the tenor. Still, the band left without an encore. Their frantic post-punk was worthy—those in the crowd just couldn’t decide if they cared. Thankfully, Cut Off Your Hands cared enough for everyone in the room. —Geoff Nelson