The Bowery Presents

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Julian Casablancas Returns Home

Friday, January 15th, 2010

Julian Casablancas - Terminal 5 - January 14, 2010

Julian Casablancas - Terminal 5 - January 14, 2010
Everyone was calling Julian Casablancas by just his first name. Near the ticket window it was “Julian” and upstairs in VIP it was a more familiar “Jules.” Opener Tanlines even referred to him as the vaguely messianic “JC.” Apparently New York City assumed it was on a first name basis with the guy who allegedly saved rock and roll from the Lower East Side in 2001. As if winking at 3,000 people at once, Casablancas opened with “Ludlow St.,” an overly sentimental ode to the street he helped make famous. Of course it was also to say that if we thought we knew him, he most assuredly knew us better.

Casablancas, dressed almost head to foot in black leather came to the stage last, a subtle tip to the significance of his return to the city that bore him. After “Ludlow St.,” he directed the band in the wailing and enormous “River of Brakelights,” a song that few outside the first 20 rows grasped or reacted to appropriately. Following quickly with “11th Dimension,” Casablancas turned Terminal 5 into a sea of jumping heads and bobbing angular haircuts. And during “Out of the Blue,” he whipped around the microphone by its cord before ripping through the last chorus. It was the kind of maneuver that said, “I’ve still got it” and “I never really left.”

Of course this return couldn’t be complete without an unscripted ending. After closing his first encore with “4 Chords of the Apocalypse,” Casablancas slammed the microphone to the stage and reached into the crowd with all the magnanimous effect of a messiah. The crowd pushed toward its hero and he seemed visibly affected by this display. Terminal 5 turned on the music and the crowd was supposed to leave. But no one moved. So Casablancas returned, rather sheepishly, saying, “We really were done.” He then played “Tourist,” as if to indicate that even the messiah feels a little weird when everyone tries to know his name. And the crowd, unabashedly, sang along with their Julian. —Geoff Nelson

Photos courtesy of Gregg Greenwood | gregggreenwood.com

Drug Rug Proves Why You Should See Bands Play Live

Friday, January 15th, 2010

Drug Rug - Brooklyn Bowl - January 14, 2010

Drug Rug - Brooklyn Bowl - January 14, 2010
Pivoting only from her elbow, Sarah Cronin’s arm was nothing but quick flashes across the strings of her guitar. Blues riffs blasted forward in a controlled and precise way, all the while the rest of her body swayed and stuttered around the stage. Contrasted by her much more reserved counterpart and beau, Tommy Allen, the duo and their band, Drug Rug, lit up Brooklyn Bowl last night with a wild display of uniquely charming music.

Even with two full-length albums under their belt, the band still mixed up the live versions of a few songs, turning them on their heads. The once bouncing and energetic “Haunting You” became much quieter and pensive. While the slow burn of “Noah Rules” was prefaced with a much heavier Zeppelin-sounding intro. They even briefly dipped into their unrecorded pool of music, slowing the set with the ballad-like “Dark Hour.”

And while they played through grinning teeth, they even tried out a new song, working out a few kinks on the fly. Fast-paced and fun, the song included a well-placed guitar riff in the chorus that alluded to Queen’s “Crazy Little Called Love.” Drug Rug returned for an encore of “Day I Die,” featuring a musical Chinese fire drill that put Cronin behind the drums and Allen on bass for one last wonderful change of direction. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

The Drums Are a Band to Keep Your Eye On

Thursday, January 14th, 2010

The Drums - The Bowery Ballroom - January 13, 2010

The Drums - The Bowery Ballroom - January 13, 2010
As some bands cemented their reputation with favorable reviews toward the end of 2009, others began to blossom in the New Year. One of those in the latter category is the Drums, a Brooklyn-based band (by way of Florida). Following their debut EP, Summetime!, the Drums have steadily generated buzz for their wonderfully catchy pop songs and energetic performances. Their plaudits even reach across the Atlantic with the BBC Sound of 2010 naming the group one of the 15 best rising music acts. With a recently recorded LP scheduled for release in the spring, the group is taking to the road. A lot.

Last night a capacity crowd greeted the Drums—and opening acts the Depreciation Guild and Surfer Blood—for their first show at The Bowery Ballroom. The Depreciation Guild transfixed the audience with their combination of fuzzed-out, shoegazing riffs and 8-bit sound accompaniment. Their live show is a fantastic visual and auditory experience, which I highly recommend. Surfer Blood, another group of Florida natives, followed with a solid set of classic-rock-inspired originals. While their stage presence needs some work, the breezy “Take It Easy” showed the band’s potential when they do just that.

Intermittent shouts sprung from the crowd as the Drums set up in darkness. “I love you, Jon,” yelled a number of women throughout the show. When the band took to the stage, it was easy to figure out the source of adoration. Jonathan Pierce, the frontman and vocalist, conducts himself like a budding rock star. His theatric prancing and confident swagger complement the other members’ stoicism (with the exception of guitarist Jacob Graham’s spastic tambourine playing on “Best Friend”). It is said that the Drums are this year’s the Pains of Being Pure at Heart, so it was fitting when the Pains’ Peggy Wang-East accompanied Pierce on “Don’t Be a Jerk, Johnny.” This show should go a long way toward proving the Drums as one of the most promising bands of 2010. —Jared Levy

Photos courtesy of Jen Macchiarelli | www.jennylow.com

The Hot Rats - Music Hall of Williamsburg - January 12, 2010

Wednesday, January 13th, 2010

The Hot Rats - Music Hall of Williamsburg - January 13, 2010

Photos courtesy of Ryan Muir
(Click here for more of these cool photos from our friends at Metromix New York.)

Passion Pit Lights Up Terminal 5

Monday, January 11th, 2010

Passion Pit - Terminal 5 - January 8-9, 2010

Passion Pit - Terminal 5 - January 9, 2010

Backed by gigantic LED screens, Passion Pit took the stage to entrance music pounding through the speakers, an evolutionary gesture. The crowd—a mix of hardened hipsters with battle stories and tweens with tickets bought on parental credit cards—lost its collective mind in that cocktail of excitement and uncertain celebrity usually associated with midlevel professional athletes and reality-TV stars. In this pose, the Boston kids in Passion Pit proved to be as magnanimous as they were confident, saying something unspoken like: “Dear 3,000 people, thanks for buying tickets to see us. Appreciate it. Now we’re going to light this place up, OK?”

For a band little more than 18 months removed from a now-famed residency at Pianos, filling the joint at Terminal 5 on a Friday night must have been surreal. As if paying homage to its humble beginnings, Passion Pit opened with “I’ve Got Your Number,” the lead-track from the EP Chunk of Change. The crowd appeared clued in on the band’s catalog, words memorized and movement ready. And the band proceeded to make good on that unspoken promise, playing “Make Light” as the room turned into a cascading series of flashing white LEDs.

The show lagged slightly in the middle but found its legs in the homestretch. Passion Pit closed the main set with “Little Secrets,” turning the crowd into little bubbles of boiling water, popping up to the surface as if driven by some elemental. The band then returned with “Eyes Like Candles” and an explosive cover of the Cranberries’ “Dreams”—the night’s most unexpectedly pleasant moment—before closing with “Sleepyhead.” The floor turned into an undulating mass of clapping, stomping and jumping, and Michael Angelakos stormed around the front of the stage, much unlike those days at Pianos. —Geoff Nelson

Photos courtesy of Sean O’Kane | seanokanephoto.com

Even Rusty Pipes Can’t Derail the Rural Alberta Advantage

Monday, January 11th, 2010

The Rural Alberta Advantage - Mercury Lounge - January 9, 2010

The Rural Alberta Advantage - Mercury Lounge - January 9, 2010
The Toronto-based trio the Rural Alberta Advantage had a busy 48 hours in the Big Apple this past weekend, opening for Passion Pit at Terminal 5 on Friday and then playing back-to-back shows at Mercury Lounge on Saturday. By the time the late show rolled around, the whirlwind of performances seemed to have taken a toll on singer Nils Edenloff’s voice, rendering his pipes a bit rusty as he belted out the groups’ emotive songs. The RAA’s debut album, Hometowns, paints pictures of fear and loathing in rural Canada, full of plaintive, country-inflected acoustic rock songs, à la Okkervil River or Neutral Milk Hotel, simmering with tension until they boil over into urgent, anthemic choruses. It’s surprising Edenloff doesn’t lose his voice more often.

As the band prepared to play a new song, halfway through the set, Edenloff told the crowd that it might destroy his throat, describing it as “a fucking killer.” Over drummer Paul Banwatt’s intense drumbeat, Edenloff sang variations of the repeated refrain, “I let you die/ I let you go,” with vocal chord-shredding fury. It was almost uncomfortable to watch the man seriously struggle to get out these words, but at the same time, as promised, the song was fucking killer. (“Someone get the man a fucking Ricola,” said the woman next to me.)

As Edenloff summoned the vocal power to belt out “Oh, I’m really trying to make it through the night,” during the cathartic “Drain the Blood,” the line had clearly taken on a double meaning. Yet the RAA did manage to make it through the night, and where Edenloff’s voice fell short, the packed crowd was always happy to fill in the blanks, singing along with gusto. —Alena Kastin

Photos courtesy of Jared Levy

Dallas Green Shows New Side

Monday, January 11th, 2010

City and Colour - Webster Hall - January 8, 2010

City and Colour - Webster Hall - January 8, 2010

Dallas Green, better known as City and Colour, crooned a lovely set of songs at a sold-out Webster Hall on Friday night. Although previously better known for his role as a guitarist-vocalist in the Canadian post-hardcore band Alexisonfire, if this show is any indication, Green’s reputation as a musician has grown with this divergence into folky acoustic balladry. He opened his set on a mellow note, but then jumped right into more upbeat material, playing second “Waiting,” the first single off his sophomore album, Bring Me Your Love. Most of the night’s set followed a similar soft-loud pattern with Green playing some of the more mellow songs solo and the more rockin’ ones with a backing band. Although most of the show drew from Bring Me Your Love, he also played a cover and some newer, untitled material.

About 40 minutes after taking the stage, Green joked that it was time for the crowd-participation portion of the set. He then launched into fan-favorite “Constant Knot,” which had the crowd following his lead and instructions with a “bababababababababadadadadadaaa” sing-along. The crowd went wild for the tattooed, glasses-and-flannel-shirt-wearing Green. Girls texted friends lust-filled declarations of love for him and one boy even shouted out, “I love you, Dallas, in a non-gay way.” With such emotional and honest material, an engaging live set and the 2009 Juno Award for Best Songwriter, Green’s reputation as a solo artist will surely only continue to grow. —Kirsten Housel

Photos courtesy of Kirsten Housel

A Band Grows Up on the Lower East Side

Thursday, January 7th, 2010

Des Roar - Mercury Lounge - January 6, 2010

Des Roar - Mercury Lounge - January 6, 2009
New York City rockers Des Roar deserve credit for the number of things that sets them apart from every other black-clad retro indie-rock band bred on the Lower East Side: One being their chick drummer and back-up vocalist, Lyla Vander. Two is their Irish guitarist, Alan O’Keeffe. And perhaps most important, three, the amount of growth from their previous album and all the other times I’d seen them.

Des Roar have grown into their own with their more recent material, finding a greater sense of melody and better hooks than their earlier tunes ever displayed. They played an almost even split of old and new songs to a mostly full Mercury Lounge last night. They’ve done a wonderful job of reaching beyond the confines of the often-generic LES rock and roll sound, particularly with the newer material, which had concertgoers dancing. But it was older songs like “Ted Bundy Was a Lady’s Man” that earned hoots and hollers from the fans. (“Must be from Florida,” responded singer-guitarist Ben Wolcott.)

The main support on the five-band bill, Dead Sparrows, another New York City-based band, played a pretty raucous set, drawing the largest crowd of the evening. They seemingly come from the same set of influences as Des Roar, but where Des Roar excels in melodies, Dead Sparrows shine because of singer Joey Sparrow’s haunting howl. —Kirsten Housel

Photos courtesy of Kirsten Housel

Hot Music on a Cold Night

Monday, January 4th, 2010

These Green Eyes - Mercury Lounge - January 3, 2009

These Green Eyes - Mercury Lounge - January 3, 2009

These Green Eyes

On one of the coldest and windiest nights of the winter, Mercury Lounge hosted a five-band showcase of a variety of Northeastern musical talent. The first three groups, Robots and Empire (Poughkeepsie, N.Y.), the Lows (New Haven, Conn.) and These Green Eyes (New Haven, Conn.), played more straight-up rock music than the later bands, with These Green Eyes being the most unique of the bunch. Visibly and audibly, they have more post-hardcore, emo and punk influences, and they skillfully combine anthemic choruses with heavy riffs.

However, as excited as I was to see These Green Eyes, I was pleased I caught the last two acts, Brooklyn’s Guitar Bomb and the Sweet Ones, both of which played less-serious sets than the preceding bands. Guitar Bomb is simply a shaggy-haired singer-guitarist jamming with a heavy-hitting drummer, playing a collision of punk and the blues, like a more ludicrous and twangy version of the Gay Blades or the Black Keys. Song titles like “Shit Stains” and “Liquor Genie” and “Freaks, freaks, freaks take back the streets” choruses had me toe-tapping and laughing.

The Sweet Ones are pretty much the same deal as Guitar Bomb, but play with a fuller lineup. The heavy-hitting drummer—and the bassist who sat in on Guitar Bomb’s last four songs—remained, but the shaggy-haired guitarist was replaced by a man with shorter hair. I didn’t catch any of the band’s song titles, but the Sweet Ones did introduce a tune as “a song that’s very true about NYC” and went on to mention “it’s not who you know but who you blow.” Needless to say, I can’t wait to see either band again. —Kirsten Housel

Photos courtesy of Kirsten Housel

Steel Train and the New Year

Monday, January 4th, 2010

Steel Train - Brooklyn Bowl - January 2, 2010

Steel Train - Brooklyn Bowl - January 2, 2009
With everyone’s New Year’s hangover dissipated, New Jersey’s own Steel Train helped Brooklyn Bowl kick off the new decade with an excellently offbeat show on Saturday night. After the opening band, the London Souls, quieted the din of the adjacent lanes with their supercharged funkadelic set, Steel Train brought a blend of youthful energy and classic rock to a packed crowd. The band is filling the gap that the Arcade Fire has left in the genre over the last year or so, and lead singer Jack Antonoff matched Win Butler’s moody pipes while adding a much more explosive stage presence. This mix harkened back to a major influence for both bands, Steel Train’s home-state-hero Bruce Springsteen. Fittingly, his “Dancing in the Dark” was the first of a handful of covers played during the set.

Coming off an all-request show at Maxwell’s in Hoboken, Steel Train continued to play other bands’ songs. Antonoff invited Nate Ruess (frontman of his other band, fun.) out for a spot-on version of Queen and David Bowie’s “Under Pressure.” But it was the sparkling performance of originals like “Firecracker” and “I Feel Weird,” both from 2007’s Trampoline, and a brilliant new song off their forthcoming album that set the rest of the show apart. Although, caught up in the fun of the unusual set list, Steel Train finished off their encore with one more cover—the Band’s “The Weight”—featuring each member playing a new instrument. Part cacophony and all smiles, they ended show the best way possible. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

Gogol Bordello - Webster Hall - December 27, 2009

Monday, December 28th, 2009

Gogol Bordello - Webster Hall - December 27, 2009

Photos courtesy of Dino Perrucci | dinoperrucciphotography.com

A Chronological Look Back at the Year in Pictures

Wednesday, December 23rd, 2009
11/11 - Dan Auerbach - Webster Hall - by Sean O’Kane

November 11 - Dan Auerbach - Webster Hall - by Sean O’Kane

Photos courtesy of Gregg Greenwood, Kirsten Housel, Michael Jurick, Jared Levy, Greg Notch, Sean O’Kane and Diana Wong

Fanfarlo - Webster Hall - December 18, 2009

Monday, December 21st, 2009

Fanfarlo - Webster Hall - December 18, 2009

Photos courtesy of Sean O’Kane | seanokanephoto.com

A(nother) Weston Reunion

Monday, December 21st, 2009

Weston - Mercury Lounge - December 18, 2009

Weston - Mercury Lounge - December 18, 2009
Pennsylvania’s Weston—formed in 1990 and best known for its pop-punk sound that once took it to the cusp of the mainstream—reunited Friday night at Mercury Lounge to celebrate long-time friend Tommy Rockstar’s birthday as well as the release of its live record, This Is My Voice and This Is My Heart: Live at Maxwell’s, recorded at another reunion show last year.

With a plethora of music to choose from, Weston puts on an exciting, and sometimes unexpected, show. Over the years, while the band members and record labels have changed, Weston’s sound has barely wavered. Although pretty much everything that comes out live is nerd-rific: Shaggy-haired Jimmy Snyder, who still wears early-era-Weezer sweater vests, too-short trousers and beat-up Chuck Taylors, and the band’s namesake, the bespectacled Dave Weston, both look equally uncomfortable onstage, though such a presence only lends to the band’s appeal—and from just listening to the upbeat, sometimes self-deprecating songs one would never know.

On Friday, the band played original songs like “Fafi,” “Retarded” and “New Shirt/Heather Lewis” (the last two being staples of Weston’s live performance). Fans were also treated to a rare performance of “Lovely, Fragile February” and a Japanese B-side (that I can’t name). About three-quarters of the way into the set, the band also did a run of Joy Division, Misfits and Pixies covers. Though Weston never reached the same level of fame as some of its peers, the group has been credited as being an integral part of the East Coast’s ’90s pop-punk scene, and time and time again, these reunion shows draw friends and fans excited to relive the experience of a band that has always played fun music. —Kirsten Housel

Photos courtesy of Kirsten Housel

Harper Blynn - The Bowery Ballroom - December 17, 2009

Friday, December 18th, 2009

Harper Blynn - The Bowery Ballroom - December 17, 2009

Photos courtesy of Jen Macchiarelli | www.jennylow.com

Stellastarr* - The Bowery Ballroom - December 16, 2009

Thursday, December 17th, 2009

Stellastarr* - The Bowery Ballroom - December 16, 2009

Photos courtesy of Diana Wong | dianawongphoto.blogspot.com

Matisyahu - Music Hall of Williamsburg - December 16, 2009

Thursday, December 17th, 2009

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Photos courtesy of Greg Notch | photography.notch.org/music

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