Tag Archives: Bowery Ballroom
Just Passing Through
January 18th, 2012Portugal. 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
Grow a Pair: Win Free Tickets to See Portlandia the Tour on 1/21
January 17th, 2012
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.
Black Taxi Celebrates
January 16th, 2012Black 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
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.
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.
Patti Smith Brandishes a Weapon
December 30th, 2011Patti Smith and Her Band – The Bowery Ballroom – December 29, 2011
Last night, on the eve of her 65th birthday, Patti Smith and her band began their sold-out three-night run at The Bowery Ballroom, just as they’ve done for the past 14 years. After beginning the show with intense, energetic versions of “Space Monkey,” “25th Floor” and “Birdland,” Smith greeted the hometown crowd, chatting in her typical familiar way, and described the many international travels and adventures she and the band experienced over the past year. “But there’s nothing like New York!” shouted out an overzealous crowd member. Smith paused, staring out, stone-faced, as a slight tension filled the room. “This is my fuckin’ punch line,” she proclaimed, with that ever-present twinkle in her eye.
In addition to her signature sharp attitude and wit, Smith’s performance was on point as well, as she interwove her spoken word with songs from the span of her career, including renditions of “Summer Cannibals,” “My Blakean Year,” “Don’t Say Nothing,” and crowd-pleasers like “Gloria,” and “Pissing in a River.” Throughout, longtime guitarist Lenny Kaye peppered the tunes with vigorous, intricate guitar solos. Of course, Smith is also known for her activism and political views, and in the past year has been a great supporter of the #Occupy movement. In addition to performing rallying songs like “People Have the Power,” she shouted messages of inspiration to the crowd throughout the set, encouraging us to speak out and create art, as well as suggesting that we occupy and focus efforts around the struggling city of Detroit.
When the clock struck midnight, everyone in the venue sang “Happy Birthday” to Smith, and the band struck up a snarling version of “Rock N Roll Nigger,” as the singer-songwriter peeled off her blazer, danced around and shredded away on an electric guitar, not unlike how she may have looked back when the song was released in 1978. “Behold the weapon of my generation!” Smith shouted, holding up her electric guitar. “It’s the only fucking weapon you need!” And with a few more strums and a wave to the crowd, she left the stage, a triumphant way to usher in her 65th year. —Alena Kastin
Atlas Sound – The Bowery Ballroom – December 18, 2011
December 19th, 2011
A Holiday Party from the Future
December 19th, 2011Twin Sister – The Bowery Ballroom – December 17, 2011
Twin Sister
The Bowery Ballroom was packed full of revelers for Twin Sister’s headlining set on Saturday night, as part of a sold-out holiday-themed show sponsored by ubiquitous music Web site Brooklyn Vegan. The five-piece specializes in a mellow style of spaced-out disco, the likes of which might be at home on an easy-listening station—on Mars. Equal parts soothing, chilling, ethereal and danceable, the music contains a unique otherworldly quality, largely due to singer Andrea Estella’s singular voice, which ranges from smooth and velvety to a high-pitched coo.
Although the band is fairly young (both in inception and members’ ages), they’ve already released a couple EPs and a full-length record since forming in 2008, and the group played a nice selection of songs from those discs during the set. Upbeat ones, like “Stop” and “Bad Street,” got the crowd moving, while “Lady Daydream” and “Eastern Green” enveloped the audience with slow, trippy grooves. “Gene Ciampi” contained a spaghetti western vibe, while the dramatic crooner “Spain” would fit nicely as a futuristic James Bond theme.
Openers Widowspeak also delivered a strong set: a beautiful interplay of warm reverb and singer Molly Hamilton’s soft, textured voice. Despite receiving a good deal of rapturous praise over the past year for their ’90s-inspired hazy rock, the band seemed endearingly modest, and when Hamilton shyly said, “Happy holidays” at the end of the set, flashing an awkward thumbs up, she seemed to almost immediately cringe with embarrassment, rushing to grab her gear and get offstage. While Widowspeak and Twin Sister may not be the kind of music you associate with your typical holiday party, they sure seemed to get the folks in the crowd in the (futuristic, spacey, tripped-out) holiday spirit last night. —Alena Kastin
You Can’t Stop Sharon Jones
December 14th, 2011Sharon Jones and the Dap-Kings – The Bowery Ballroom – December 13, 2011
We waited together, packed shoulder to shoulder. The band was onstage but its fundamental element was missing, the SJ to the backdrop’s SJDK—because, quite simply, Sharon Jones makes Sharon Jones and the Dap-Kings. It’s her presence and voice that give the band an identity. Without her, the Dap-Kings are a talented nine-piece band in similar suits. So when Jones finally appeared, wearing a golden brown ruffled sequin dress, the collective mood noticeably shifted. We finally saw whom we came to see.
For her part, Jones performed with abundant focus and energy, harkening back to soul singer/performer extraordinaire James Brown. Even before the music started, guitarist Binky Griptite announced each of Jones’s notable songs to a short band review, identical to the sequence of a Brown show. And, like Brown, Jones sings, dances and emotes herself to the point of exhaustion. After a performance of the ancestry dance song, a long narrative explanation of her dance style, she huffed and paced. But like Muhammad Ali in the ring, her display seemed as such a part of the performance as it was a breather. She quickly recovered. —Jared Levy
Photos courtesy of Alexis Maindrault | rockinpix.com
(Tonight’s Sharon Jones and the Dap-Kings show at The Bowery Ballroom is sold out.)
A War on Drugs That Makes Sense
December 12th, 2011The War on Drugs – The Bowery Ballroom – December 11, 2011
You know how in certain kinds of movies, there’s that straight-laced annoying guy who accidentally eats the wrong brownies and all of the sudden he’s on some psychedelic introspective journey? Well something like that is happening to indie rock right now, with several bands providing the baked goods and your straight-up guitar/bass/ drums/keys shoegazing pop taking off its shoes and shirt and losing itself in the moment. Leading that charge is the War on Drugs, the Philadelphia band that turned a Sunday night rock show at The Bowery Ballroom into a psych-pop head-trip.
The War on Drugs seemed to play their music inside out, with hairy stretches of music occasionally broken up by lyrics. Songs stretched past their end point with short, electrifying noise jams persisting in the space between; harmonica and sax providing a cosmic edge. The music wasn’t focused on a catch or a hook or a chorus for the bouncing crowd to sing along to—rather it seemed to generate its own alternate reality with nettled guitar and off-meter drumming and Blood on the Tracks-era songsmanship. And the driver was Dave Hartley’s bass, playing nonstop Dali-melting-clocks riffs.
The show was punctuated by tunes from the band’s acclaimed 2011 release, Slave Ambient, but when you’re playing a sold-out show, there’s little reason to devote too much time to selling a new album and the War on Drugs bounced through their catalog nicely. Songs flowed into one another with a dreamy stream of consciousness until it felt like you might be dreaming because it sounded like they were playing the Grateful Dead. Indeed, it’s not everyday you get to hear a droning, silly-putty cover of “Touch of Grey” at The Bowery Ballroom by a band passing around a bottle of Maker’s Mark, but that’s the kind of thing that happens when you eat the brownies the War on Drugs are making these days. —A. Stein
Grow a Pair: Win Free Tickets to See the Weakerthans on 12/9
December 6th, 2011
The Weakerthans come to town to play four shows at The Bowery Ballroom this week. Each one is sold out, but The House List is giving away two tickets to Friday’s show. Want to go? Then 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 (the Weakerthans, 12/9) and a brief message explaining what you most like about this Canadian quartet. Eddie Bruiser, who’s had a thing for Canadian bands ever since he first heard “Tom Sawyer,” will notify the winner by Friday. Good luck.
A Funky Good Time
December 5th, 2011Charles Bradley and His Extraordinaires – The Bowery Ballroom – December 3, 2011
It takes a certain something to pull off a custom outfit with your initials in sequin on the back. You can’t really put that certain something into words, but you know it when you see it. And if you were lucky enough to be part of the sold-out Bowery Ballroom crowd on Saturday night, you saw it in all its show-stopping glory. The initials on the back were “CB” for Charles Bradley, and the grooves he and his aptly named band, the Extraordinaires, channeled were all sorts of in-the-flesh “JB.”
It isn’t every night that the Ballroom is hopping front to back with old-school soul and R&B, but Bradley had the room moving. Working the material off his acclaimed 2011 release, No Time for Dreaming, Bradley made sure there was no time even for resting, with each number deep and funky. Grooves like this are only as good as the band laying them down, and the stable of Daptone musicians backing Bradley kept things in the pocket all night.
Bradley’s voice oozed with soul and filled with lament and joy. The night’s highlight cover was a souped-up version of Neil Young’s “Heart of Gold,” with Bradley maintaining the depth of the lyrics while infusing all sorts of funkiness Young probably didn’t know existed in there. Like everything else he sang, Bradley made it his own. The sparkling sequin initials left no doubt. —A. Stein
(Charles Bradley and His Extraordinaires and the Budos Band play Music Hall of Williamsburg on 12/31.)
Baths’ Time on Friday Night
December 5th, 2011Baths – The Bowery Ballroom – December 2, 2011
(Photo: Andie Diemer)
Electronic music isn’t easy to perform live for a lot of reasons, the main one being that it’s difficult to make music derived from a guy clicking away on his laptop translate into a compelling live performance. Will Wiesenfeld of Baths doesn’t have this problem. If anything, watching the amount of work he puts into rebuilding songs before an audience sets new expectations of what an electronic-music show should look like.
Turning knobs and pressing down on what looked like an endless array of buttons while keeping rhythm of the songs with his entire body, Wiesenfeld certainly doesn’t make piecing these tracks together look easy. On Friday night at The Bowery Ballroom, he would often throw his hand back after touching his gear, as if all this endless tinkering had resulted in the equipment getting too hot to even touch. During some of Baths’ most memorable, Wiesenfeld would grab the microphone with both hands and add his ethereal vocals to this man-made symphony of samples, beats and other odd noises, acting as a reminder that he’s the original creator of this collection of sounds.
“This is the most excitable New York crowd I’ve ever had,” said Wiesenfeld of an audience that followed his every move, finding ways to dance along to everything from the glitchy breakbeats of “Indoorsy” to the calming swells of “Aminals.” While Baths’ ability to showcase all the effort it takes to piece together this music impressed, the show’s best moments occurred when it all would coalesce into energy strong enough to sweep up the audience with it. If there’s one right way to play this new chillwave sound live, this is how you do it. —Dan Rickershauser
Future Islands Bring the Heat
December 2nd, 2011Future Islands – The Bowery Ballroom – December 1, 2011
(Photo: Dan Rickershauser)
Samuel T. Herring, the lead singer of Future Islands, is without a doubt the hardest workingman in post-Wave, and he proved it at The Bowery Ballroom last night. Breaking into a dripping sweat just one song into the set, Herring poured his everything into each word he sang—and it visibly showed. At times sitting on his knees before the front row like he was making a desperate plea, other times gesturing wildly like he was ripping out his own heart and handing it off to the dancing crowd for the taking, Herring’s showmanship only added to the poetry of his songwriting.
And that voice. While Herring’s uniquely soulful crooning might be the first thing to stick out on Future Islands’ recordings—it absolutely defines the band’s live performance—transitioning from throaty growls to strained high-pitched proclamations seemed to all but suck the oxygen out of the packed room. All this was set to the backdrop of William Cashion’s rolling bass and Gerrit Welmers’ keyboard and synth lines that kept the crowd in motion.“This means a lot to us and I don’t know what to say,” said Herring halfway through the set. His ear-to-ear grin showed genuine disbelief that the group was performing before a wildly enthusiastic crowd in a sold-out venue.
Following opening acts Zomes and Ed Schrader’s Music Beat, it was an impressive showing for the well-established and ever-expanding Baltimore music scene, with all three bands hailing from Charm City. Set highlights included the opening song, “An Apology,” a high-energy rendition of “Tin Man” and “Before the Bridge.” At the chorus of “Before the Bridge,” Herring stuck his finger out to the audience during refrains of “Do you believe in love?” like he was personally asking them to believe. If they didn’t already, this heartfelt performance might have been just enough to push them over the edge. —Dan Rickershauser
