Tag Archives: Bowery Ballroom

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SOJA Brings a Double Dose of Reggae to The Bowery Ballroom

February 8th, 2012


Bassist Bobby Lee Jefferson and lead singer and guitarist Jacob Hemphill met back in elementary school, bonding over shared tastes in music. And beginning in middle school they started to meet the others, drummer Ryan Berty, percussionist Kenneth Brownell and keyboardist Patrick O’Shea. The band is based in Northern Virginia, where the five of them live, but since the quartet’s first album came out a decade ago, there’s been a name change—dropping Soldiers of Jah Army for SOJA—countless tours and saxophonist Hellman Escorcia and trumpeter Rafael Rodriguez have come on to deepen the socially conscious group’s sound. Reggae isn’t as big in the U.S. as it is in other places. In fact SOJA (above, doing “Here I Am” for Rockpalast) plays before thousands in South America, but with a fourth LP, Strength to Survive, out last week, they’re coming our way for two shows, tomorrow and Friday at The Bowery Ballroom. Come see what the fuss is all about.

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So Much More Than Just One Song

February 7th, 2012

Gotye – The Bowery Ballroom – February 6, 2012


With one of the most talked about songs and videos of 2011, “Somebody That I Used to Know,” it felt like Gotye was just waiting for that first New York City show that sells out with an air of mystery and excitement surrounding it. And Monday at The Bowery Ballroom was that show: two projectors on the balcony accompanied the music with beautiful custom animations, and onstage there more instruments than you could count or even name. I was unsure what to expect of the show because Gotye’s album is an interesting one, filled with a few obvious hits but also some otherwise quirky stuff.

Opening the show with the crowd-pleasing “Eyes Wide Open,” Gotye’s voice sounded fantastic—soulful, clear and strong enough to quiet a packed room. Despite so much visual stimulation, the set lacked nothing musically. Each band member switched roles at least once, which found Gotye taking on a lot of percussion. The crowd never stopped moving thanks to songs like “Easy Way Out” and “State of the Art,” during which Gotye used a different microphone to make his voice drop at least an octave.

After an eager fan threw a bra onstage, Gotye wore it throughout “Smoke and Mirrors” and announced that he was going to perform a song that “maybe you’re all waiting for or maybe you’ve heard too much of.” With that he played the familiar opening xylophone of “Somebody That I Used To Know” with clear adoration from all those waiting to hear it. Kimbra came out to sing her part to even more applause and they did justice to the song that so many have listened to, covered and loved. Clearly Gotye is no one-hit wonder, and in thinking steps ahead of most when it comes to his live show, 2012 might very well be his year. —Lauren Glucksman

Photos courtesy of Diana Wong | dianawongphoto.com

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Can You Describe the Ruckus?

January 30th, 2012

Rubblebucket – The Bowery Ballroom – January 28, 2012


In between the opener and the headliner of Saturday night’s sold-out Bowery Ballroom show a woman asked us for the name of the first band. When I said, “Superhuman Happiness,” she responded, “They were really good!” I nodded in agreement: Indeed, they had just turned the room into a dance hall, blending Afrobeat with modern touches ranging from the Talking Heads to LCD Soundsystem. It was jamming horn-heavy groove music with claws, gratifying fans in the crowd and winning over plenty more.

Then the woman asked if we had ever seen Rubblebucket, the headliner. We replied that we hadn’t and she got a look in her eye. I know that look. I’ve given it to people plenty of times. It says, “You’re in for a treat and you don’t even know it.” Not many acts can put that kind of spark in someone’s eye. But later in the night—somewhere in between the crowd-surfing guest sousaphonist and the robot puppets (or puppet robots?) dancing through the arms-in-the-air crowd while the band stretched out a jam that had begun with a whiplash version of Blondie’s “Heart of Glass”—there was no question where that look had come from because I had the same one.

Rubblebucket picked up right where Superhuman Happiness had left off, taking the organic stuff of the tribal and the electronic and burying it underground until it liquefied into pure party petrol. The music was utterly post-genre—horns, synth, guitars, harmonies—a smile-inducing point on the tangent that connects Björk and Broken Social Scene. If those in the audience were enjoying themselves to the legal limit, the band members were right there with them, amid the crowd-surfing and the confetti cannons and returning for the encore ensconced in LEDs that seemed to blink in time with the drums. By the end of the show, which included material off last year’s Omega La La and even stronger first-time-played material, not a booty was left unshaken and not an eye was left untwinkling. —A. Stein

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A Voice in the Dark

January 26th, 2012

Cass McCombs – The Bowery Ballroom – January 25, 2012


The band played in relative darkness, with a screen projecting shimmering gold dots providing the only light onstage. And, against the background, they looked like backlit shadows. The figures created sound, but their performance couldn’t be seen—all the better for Cass McCombs. The reportedly elusive singer-songwriter delivered his literal and personal lyrics with as much anonymity as possible.

Camera flashes provided brief glimpses of the frontman, but on the whole, his voice came from a silhouette. He sang about creatures and passwords written on sticky notes similar to Charlie delivering secrets to his angels. The audience listened attentively for instruction and information. And, for his part, McCombs was a purveyor of both.

During such upbeat numbers as the opener, “Love Thine Enemy,” McCombs tossed off aphorisms and advice. But the tone shifted mostly to midtempo country and folk. The comfortably laid-back sound, pervasive in the current indie-music scene, sounded effortless coming from McCombs and company. It is, after all, his signature. So when they finished with the 2011 lauded single “County Line” and left the stage, the lights immediately came back on. No needs to hide once you’ve left the stage. —Jared Levy

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A Bowery Ballroom Dance Party

January 26th, 2012


Musically speaking, Alex Toth (trumpet) and Kalmia Traver (vocals and sax) have been together for a while. The two met as music majors at the University of Vermont and upon graduation they joined the reggae outfit John Brown’s Body. Eventually they decided to go in a different direction, more along the lines of a mash-up of psychedelic pop and dance music with layered rhythm and melodies and arrangements by Toth. Craig Myers (percussion) was the first to join the effort, but now the Brooklyn-based Rubblebucket (above, doing “Triangular Daisies” for Audiotree Live) performs with an array of instruments and as many as nine musicians. And when they play live, they bring it. So bring yourself to The Bowery Ballroom on Saturday night and be prepared to shake it.

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Nada Surf – The Bowery Ballroom – January 24, 2012

January 25th, 2012

Photos courtesy of Alexis Maindrault | rockinpix.com

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Chairlift – The Bowery Ballroom – January 23, 2012

January 24th, 2012


Photos courtesy of Mina K

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Cass McCombs Plays The Bowery Ballroom Tomorrow Night

January 24th, 2012


Singer-songwriter Cass McCombs’ calling card is his distinctive voice, both lyrically and aurally. Prior to actually releasing any music, his dark, funny stories earned him a slot touring with Palace (a Will Oldham—of Bonnie “Prince” Billy fame—band) and the Oxes, which eventually led to McCombs putting out his debut EP, Not the Way, in 2002. Two LPs, and stints in the Pacific Northwest, England and Baltimore, followed before he found himself on the road with Modest Mouse. Not one to rest on his laurels, McCombs (above, doing “Prima Donna” at last year’s SXSW) released not one but two well-received albums last year, Wit’s End and Humor Risk. And with a pair of new discs to promote, he plays The Bowery Ballroom tomorrow night.

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Caveman’s Evolution

January 23rd, 2012

Caveman – The Bowery Ballroom – January 20, 2012


Surfing an ever-growing tidal wave of buzz around debut album Coco Beware, Caveman headlined a sold-out Bowery Ballroom on Friday night, displaying musical chops and hometown pride in equal measure. “We used to come to shows here in high school,” reminisced lead singer-guitarist Matthew Iwanusa between songs. He later, in true New York City spirit, asked, “Anybody know if the Knicks won tonight?”

In addition to all the NYC shout-outs during the set, songs like “Old Friend” and “December 28th” contained references to a range of other contemporary New York City bands like Interpol, Grizzly Bear and the Walkmen. Of course, the Brooklyn quintet adds its own spin to these pedigreed musical influences, most notably the penchant for throwing in extended instrumental jams, filled with screeching distortion and hazy feedback—a loud but pleasing wall of sound, in peak form during “Vampirer.” The impressive effects the band wrings out of its guitars can be attributed in part to the unique instruments themselves, personally crafted by Jimmy Carbonetti, one of the guitarists. Just as cavemen crafted their own tools, so too does Caveman, albeit in a bit more evolved way.

The expert guitar work was enhanced by washes of dreamy synth, powerful drumming and well-crafted vocal harmonies, demonstrated on songs like “Thankful,” “Decide,” and “A Country’s King of Dreams.” Although the group was clearly humbled to be headlining the venue (“The first show we ever played was here, and now … we’re doing this,” remarked Iwanusa) Caveman’s polished, bravado-filled performance was up to the honor. —Alena Kastin

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Anthony Green – The Bowery Ballroom – January 19, 2012

January 20th, 2012


Photos courtesy of Sean O’Kane | seanokanephoto.com

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Just Passing Through

January 18th, 2012

Portugal. The Man – The Bowery Ballroom – January 17, 2012

(Photo: Gregg Greenwood)

On top of all the other things that make New York City a AAA-rated live-music town is that it’s a place you often have to go through on your way to somewhere else. So, as the guys in Portland, Ore.-based Portugal. The Man ready to cross the ocean to support the Black Keys in Europe and play some festivals and dates in Australia, they found themselves in town, and what better way to spend time here than with a couple warm-up shows? Tuesday night’s gig at The Bowery Ballroom was a free event put on by Pandora for lucky die-hards, the second event of what the Internet radio station hopes will be many to link fans with the bands they “click through” on Pandora.

As the show launched with a short spasm of instrumental jamming, it appeared that the sponsor of the night was a perfect one. The set proceeded like a Pandora station with stream-of-consciousness linking of genres and influences. The band bubbled up some straight rock, punk, reggae and plenty of are-we-on-acid psychedelia, dropping in covers of the Beatles, Oasis and Mott the Hoople’s “All the Young Dudes” while always maintaining their unique Portugal. The Man-ness. The first thirty minutes were a continuous in-your-face block of interlaced songs, tight jams, flashing lights and smoke machines. And when it seemed the energy couldn’t get any higher, the show settled into a nice groove, as the band highlighted songs from its entire catalog, with particular emphasis on the The Satanic Satanist and In the Mountain, in the Cloud albums.

Frontman John Gourley complained of rustiness: his hands ached after “not playing guitar all winter” (has winter even started yet?), and there were a few forgotten lyrics and bumpy finishes along the way. But the lucky attendees in the crowd barely noticed or seemed to care as they matched the band’s energy for a nonstop 90-minute show that felt like three hours and still plenty short. If this was just the warm-up, Portugal. The Man is undoubtedly ready to take on the world. —A. Stein

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Contest

Grow a Pair: Win Free Tickets to See Portlandia the Tour on 1/21

January 17th, 2012

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Fred Armisen and Carrie Brownstein are bringing their show, Portlandia, on the road. It’s just a six-city tour and the two dates here, on Friday at Music Hall of Williamsburg and on Saturday at The Bowery Ballroom, sold out quickly. But The House List is giving away two tickets to Saturday’s show. So if you don’t have tickets but would still like to go, try to Grow a Pair. Just fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (Portlandia, 1/21) and a brief message explaining why Portlandia reminds you of Brooklyn. Eddie Bruiser, who thought the show took place in Maine, will notify the winner by Friday.

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Black Taxi Celebrates

January 16th, 2012

Black Taxi – The Bowery Ballroom – January 14, 2012


It doesn’t get much better than seeing Black Taxi at New York City’s Bowery Ballroom on the occasion of a new album, especially with a trio of great bands preceding the four-piece. The guys in Black Taxi work so hard and play so well that a sold-out, raging celebration was a given. From the first moment to the last, the space was jamming, with the crowd raucously reacting to each infectious riff. These dudes know how to work a room, and the whole quiver of instruments came out—with a horn section to boot. It was utterly impossible to tell who was having a better time, the band or the fans.

It isn’t just because the group has so many friends or that everyone in the band is really awesome that Black Taxi has such a loyal fanbase. No, it’s because these guys are just so damn good that rocking out at their shows is, hands down, the best way to spend any given night. And it gets better every time. So if you haven’t seen them already, the next time Black Taxi take the stage do yourself a favor and make it out to support them. And don’t forget your dancing shoes. —JC McIlwaine

Photos courtesy of JC McIlwaine | jcmcilwaine.com

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Scud Mountain Boys Are Reunited and Playing Tonight

January 13th, 2012


When you think about it, most musical genres really cover more than one type of music. But people are still quick to apply labels, so country-tinged music that delves into rock and punk somewhere along the way became alt-country or, even better, y’alternative. Think Gram Parsons or Uncle Tupelo, which begat Wilco and Son Volt. Along those lines came Scud Mountain Boys, out of Northampton, Mass., blending country music with ’70s rock. The band’s first album, Pine Box, came out in 1995. And despite it only being released on cassette, the quartet—Joe Pernice, Stephen Desaulniers, Tom Shea and Bruce Tull—began to gain some attention. But it wasn’t meant to last. By 1997, after releasing two more LPs, the group had broken up with each band member going his own way. Pernice, who went on to form Pernice Brothers, says the bandmates “hadn’t spoken a single word between us in 14 years.” But following the death of a friend he reached out and a reunion show of sorts occurred last summer in Boston. And now the whole band is back together and you can see Scud Mountain Boys (above, doing “”) tonight at The Bowery Ballroom.

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Shake It with the Pimps of Joytime on Friday Night

January 4th, 2012


The Pimps of Joytime formed in 2005, and their sound, influenced by Brooklyn DJ culture, is a musical stew of rock, soul, afrobeat, salsa, electronica, rap and infectious Latin grooves. Led by the charismatic Brian J, the Brooklyn-based band has steadily played club and festival gigs, leaving smiling, sweaty people in their wake each time. And now you can start off the first weekend of 2012 by shaking your ass when the Pimps of Joytime (above, doing “Janxta Funk”) play The Bowery Ballroom on Friday.

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