Photos courtesy of Dino Perrucci | dinoperrucciphotography.com
Posts Tagged ‘Music Hall of Williamsburg’
The Dead Weather - Music Hall of Williamsburg - November 17, 2009
Wednesday, November 18th, 2009The Power of Three, Twice
Friday, November 13th, 2009White Denim/Brazos - Music Hall of Williamsburg - November 12, 2009
White Denim
In my opinion, Austin, Texas, is one of the truly great American cities, seamlessly patching together disparate archetypes into one coherent, unique population. Last night, two Austin bands rocked Music Hall of Williamsburg with music that carried on the mash-up spirit of their hometown. Ostensibly, the only thing they had in common was that both are guitar-bass-drum trios from the same city, but, taking a step back, you could see how each tied together a wide range of sounds and influences that became their own distinct music. You could break down each bit if you wanted to, but that would defeat the purpose.
The headliner was White Denim. Guitarist-vocalist James Petralli began by setting up several overlapping loops with his guitar to immediately densify the sound. I was not expecting that. Over 20 minutes, a broken guitar string and plenty of awe-inspiring face-melt rock later, they finally took their first pause before quickly diving back into it. They repeated this routine thrice—was it three 20-minute songs or 20 three-minute songs strung together with virtuoso segue and genre-defying sound? Doesn’t matter. The music expertly flip-flopped through styles until all influences were invisible. In true power-trio form, each musician seemed to add more than one-third of the sound, amplifying the music to an awesome better-than-its-parts level. Their new release, Fits, while highly recommended, is a coy hint of the live show’s intensity.
The opener, Brazos, was the stripped-down, dreamy groove-pop version of the same blind-influence mash. Keep an eye on these guys. Highlighted by a greased-pig bass that surprised me with its slipperiness, the trio got quite a bit of bounce out of its sound. After their too-short set, the crowd gave a hearty applause befitting a headliner. —A. Stein
Start Your Weekend with Some Soul
Thursday, November 12th, 2009It began as a record label. Tom Lunt, Rob Sevier and Ken Shipley decided they no longer wanted past musical gems to “sit in a temperature-controlled room dying for a chance to be played.” They wanted the spotlight to shine on the writers and musicians who’d created this essentially unheard music. So they dug into their record collections to remaster and reissue a host of soul, pop and funk songs. But why stop there? Like the Stax Records revue tour of Europe in 1967, Numero’s Eccentric Soul Revue is made up of a revolving group of singers performing with a very talented backing band, in this case, JC Brooks & the Uptown Sound. Why are we telling you this? Because Numero’s Eccentric Soul Revue is playing Music Hall of Williamsburg tomorrow night. Check out the trailer, above, and then get your weekend started right by getting down to some sweet, sweet soul in the BK.
Wolfmother Turns It Up to 11 over Two Nights
Tuesday, November 10th, 2009Wolfmother - Music Hall of Williamsburg - November 9, 2009
What was it your mother told you about making a good first impression? Wolfmother learned that lesson well, opening their show at Music Hall of Williamsburg with an eight-minute “Dimension”—an explosion of guitar and falsetto, machine-gun drums and bass. What was it your mother said about playing with matches? The band wasn’t quite as good with that one, throwing flame at the dry tinder of the audience. Never mind that it was a Monday night, it took about 30 seconds for the jacked-up, sold-out crowd to turn into a flailing mosh pit.
From there it was just a matter of playing with fire. Wolfmother leaned heavily on new material but strategically placed songs from the debut album throughout. Of course, these got the greatest reaction, with the crowd taking them in like an intravenous hit of an adrenaline-testosterone cocktail. These tunes were a bit more developed with long, pyrotechnic guitar sections and psychedelic breakdowns. Frontman Andrew Stockdale seemed to be able to flip a switch and turn a formless blob of volume and speed into a coherent sound at will. Never mind a lineup change or two, the band was tight and at his beck and call.
When the band hit “Woman” midset, the crowd and band merged with a crazy intensity, crowd-surfing, stage-diving and the whole lot. This was no video game. Stockdale joked about being warned that the Brooklyn crowd would just stand there, arms crossed, asking, “What have you got?” but the reality was kinetic craziness. Ending the set with a spacey “White Unicorn,” the volume maxed-out to the red, blowing a hole right onto N. 6th St. —A. Stein
Wolfmother - Terminal 5 - November 8, 2009
Photos courtesy of Michael Weintrob | www.michaelweintrob.com
A Double Shot of Wolfmother
Thursday, November 5th, 2009The psychedelic-tinged hard-rocking Wolfmother’s debut album, Wolfmother, came out in 2006 to much acclaim. With Andrew Stockdale on vocals and guitar, Chris Ross on bass and keys and Myles Hekett on drums, the Australian band’s throwback sound earned comparisons to Black Sabbath and Blue Cheer, and their music was featured everywhere from Guitar Hero II to an iPod commercial to Shrek the Third. But despite the fact that things were riding high for the power trio, just like on Behind the Music, backstage things were falling apart.
Citing irreconcilable differences, Ross and Heskett left behind Stockdale and the group’s name in the summer of 2008. Undeterred, Stockdale got back in the saddle, recording new material—in L.A. this past spring—with Dave Atkins on drums, Aidan Nemeth on rhythm guitar and Ian Peres on bass and keys. The band, now a four-piece, then spent the summer opening for the Killers. But since releasing another heavy-rock disc, Cosmic Egg, two weeks ago, the newest version of Wolfmother is currently headlining a tour across two countries in North America and two boroughs in New York City—Sunday at Terminal 5 and Monday at Music Hall of Williamsburg.
(Above, Wolfmother plays “New Moon Rising” on Later…with Jools Holland.)
Reunited and It Feels So Good
Monday, November 2nd, 2009The Get Up Kids - Music Hall of Williamsburg - November 1, 2009
While bands like KISS have devalued the real significance of reunion tours, there are still acts like the Get Up Kids willing to prove that not all reunion tours are half-assed attempts at moneygrubbing. Taking the stage to the tongue-in-cheek intro music of Prince’s “1999,” the Get Up Kids wrapped up a three-night stay in New York City with a sold-out show at Music Hall of Williamsburg. Following a now commonly brilliant set from hometown boy Kevin Devine, the Get Up Kids made, surprisingly, their first-ever appearance in Brooklyn. More than just a trip down memory lane, the show was filled with energy not normally seen on reunion tours.
Mixing in everything from the ubiquitous “Holiday” to B-side “Anne Arbour,” the band played for more than an hour to the delight of the raucous crowd. Lead singer Matt Pryor’s voice sounded remarkably similar to the recordings on the band’s watershed album, Something to Write Home About, released a decade ago. But the group also had to tread new ground during the set (thanks to guitarist Jim Suptic’s allergic reaction to his Tin Man costume from their Halloween show). Left voiceless, Suptic’s vocals were picked up by keyboard player James Dewees, who jokingly apologized about how his low range would make his new parts sound “too screamo.”
After a stage-dive-inducing performance of “I’m a Loner Dottie, a Rebel…” during the encore, Pryor asked if the audience wanted a “slow song or a rock song.” When the crowd screamed for the latter, one more vocal substitution was needed. Pryor grinned his way through “Ten Minutes,” normally sung by Suptic, and admitted he had never sung it before. —Sean O’Kane
Halloween: So Many Options
Thursday, October 29th, 2009
Boo!
Halloween is about tricks or treats, but why settle for just one when The Bowery Presents is offering a night filled with plenty of both? Deer Tick is playing the songs of the Sex Pistols at Brooklyn Bowl. And if you’ve ever had the pleasure of seeing this band live, you already know that with their three-pronged guitar attack and frontman Jon McCauley snarling Johnny Rotten’s vocals that this will be “Anarchy in the BK” done right.
If the Sex Pistols aren’t your thing, but you still want some classic rock—and who could blame you?—then head to Music Hall of Williamsburg to see Lez Zeppelin. Their tagline is All Girls. All Zeppelin. And these girls are fierce (especially Leesa Squyres as John Bonham)! If you still want covers, but are looking to get down, Karl Denson’s Tiny Universe will be doing a tribute to Michael Jackson at The Bowery Ballroom. And if you like a dance party with a slight political bent, then shake it all night at Terminal 5 with D.C.’s Thievery Corporation.
Of course, there are also other options. If you’re looking for some catchy-and-contemplative music, we’ve got that too: Tegan and Sara at Town Hall. And if good old-fashioned storytelling is your thing, hightail it to The Wellmont Theatre to see the engaging Robert Earl Keen and Todd Snider. And, finally, if you’re looking to check out several bands with some “high-octane punk rock with swagger” then check out Mercury Lounge’s lineup, led by Black Taxi. (Plus, there’s even a costume contest.) Do what you like, but do see some music on Halloween!
They Might Be Giants/Nada Surf/Charles Bissell - Music Hall - October 28, 2009
Thursday, October 29th, 2009
The XX - Music Hall of Williamsburg - October 23, 2009
Monday, October 26th, 2009
Photos courtesy of Mina K
Five Questions with…Matthew Caws (Plus Win Tickets for a Great Cause)
Friday, October 23rd, 2009
Matthew Caws
Nada Surf, They Might Be Giants and Charles Bissell (of the Wrens) play Music Hall of Williamsburg on Tuesday, October 28th. The show is entitled Raise the Roof: a Benefit for the Northside Town Hall Community and Cultural Center, and 100 percent of ticket sales go toward the cause. Nada Surf will close the show with a full-on electric performance, and in an effort to get out the word, the band’s singer and guitarist, Matthew Caws, took the time to answer five questions for The House List.
Which band have you seen play live the most often (excluding bands you’ve toured with)?
Probably Robyn Hitchcock and the Egyptians. When Fegmania came out, I’d already been turned into a fan by my sister, so I went to every area show for a few years. So maybe 18 shows? Then friends’ shows: Tom Beaujour (Communist Manifesto, Soulcraft, Shake Appeal, True Love), Phil Yanos (the Accidents, Dangaru, Driver X), Lianne Smith, Marykate O’Neil and Chavez.
Which band (or bands) that you listened to growing up do you still listen to?
The Beatles, the Velvet Underground, the Ramones, David Bowie, Talking Heads, R.E.M., Elliott Smith and Fugazi. Those last couple were in my 20s, but we’re still growing up then, aren’t we?
Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I keep accidentally lifting Brian Eno melodies. OK, two so far, but still, I gotta stop.
Your after-party is at Hi-Fi, the Avenue A bar known for its endless jukebox, and The House List gives you a buck. Which three songs are you playing?
“Kamloops,” by Flin Flon, “Glow Girl,” by the Who and “The Puppet,” by Echo and the Bunnymen.
It’s 4 a.m. and last call has come and gone. What’s your next move?
It’s not over until the deli guy sings, and he never does. That being said, at 4, I’m probably headed to bed or at least seriously considering it. —R. Zizmor
Try to win a pair of tickets for a great cause and a night of killer music. Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Raise the Roof, 10/28) and a brief message telling us why you want to go. Eddie Bruiser will notify the winner by noon on Wednesday, October 28th. Good luck.
The Temper Trap Ends on a High Note
Friday, October 23rd, 2009The Temper Trap/Mumford & Sons - Music Hall of Williamsburg - October 22, 2009
The Temper Trap’s lead singer, Chris Mandagi, beckoned the crowd to surge forward. The band was in the middle of an eight-song set at a nearly sold-out Music Hall of Williamsburg. It wouldn’t be fair to say the set up to this point was pedestrian, but it certainly wasn’t an elevating artistic moment. The band’s much-licensed smash single, “Sweet Disposition,” tipped the whole evening toward something different. So as Mandagi chanted the lyrics, he beckoned us forward.
An hour earlier, British folk-rock act Mumford & Sons dominated the same stage that Mandagi would later try to crush the crowd against. Rife with banjo, upright bass and full-on four-part harmonies, Mumford & Sons is the first band to ever move this many people without a drummer. The crowd knew the lyrics though the band would later joke that their album isn’t out yet in the States. The implication was clear (you stole our album) but the accusation was invisible (still, thanks for singing along). They closed with a new song, “Whispers in the Dark,” featuring the closing line, “let’s live while we’re still young.” There isn’t anything better to tell a room full of people who are mortgaging sleep and jobs for the sake of a music festival.
Slipped back in medias res and the Temper Trap crushed their final four songs following “Sweet Disposition.” Closing with “Science of Fear,” Mandagi did his best vocal clown car, with a surprising amount of material coming out of a seemingly tiny vessel. As the song closed, he turned to his band let the mike thud to the floor. The Temper Trap urged us forward and then retreated in kind. We were left to live while we were young. And that’s what we did. —Geoff Nelson
Bradford Cox Needs to Give Himself Some Credit
Thursday, October 22nd, 2009Atlas Sound - Music Hall of Williamsburg - October 21, 2009
(Photo: Diana Wong)
“The show’s completely off the rails now,” joked Deerhunter frontman Bradford Cox, performing last night at Music Hall of Williamsburg as his solo side project, Atlas Sound. Somehow a simple broken guitar string had brought the set to a standstill, initiating a chain reaction of antics: Inexplicable song requests from the crowd (“Rock Around the Clock,” “Monster Mash”), a series of groan-inducing jokes and Cox’s decision to strike a few poses for all the hungry photographers in the crowd eager to snap away. “This is my socially conscious pose,” said Cox, strumming some Dylan chords and staring introspectively at the ceiling.
“Did you think it was pretty professional before all that shit happened?” Cox later inquired. Come to think of it, Atlas Sound’s set had been pretty professional up to that point. Cox (wearing a very sensible brown suit) had started the show with a haunting version of “My Halo” from Atlas Sound’s newest album, Logos (just released on Tuesday), his voice strong and stark, accompanied simply by keyboard. Joined shortly thereafter by his backing band, Atlas Sound played meticulous renditions of songs like “Walkabout” and “Sheila,” easily recreating the ethereal moments within their spacey, densely layered psych-shoegaze.
Later on, Cox partially chalked his “derailment” up to nerves—noting that the retro space-pop masters Broadcast, who had performed a transfixing opening set accompanied by trippy 1960s-era video art, were a tough act to follow. Though they were impressive, could Cox truly have such shakable confidence? After all, when he returned solo for an encore—creating a looped guitar and harmonica sample, walking around the stage as he played both guitar and drums, and timing his singing between different mikes—Bradford Cox was able to personally embody Atlas Sound. It was a complete song, nearly effortless. For moments like this, hopefully Cox will come to give himself more credit. I must say, when he was able to focus, it was certainly quite professional. —Alena Kastin
An Excellent Opening Night of CMJ
Wednesday, October 21st, 2009Fanfarlo - Music Hall of Williamsburg - October 20, 2009
(Photo: Daniel Perlaky)
Fanfarlo. These kids, hailing from London, Sweden and Belgium, really blew me away as the headliners for last night’s Brooklyn Vegan showcase at Music Hall of Williamsburg. While they’d recently played there, I didn’t get a chance to see them, and since I’ve been listening to Reservoir off and on all year, I had high hopes for their live show. I was not disappointed! They started off the night with an acoustic version of “Drowning Men,” with just lead vocalist Simon Balthazar and Cathy Lucas, who played the mandolin. Immediately after, the rest of the band entered and Balthazar broke a string. Undaunted, they launched right into their next song, which sadly lacked the group’s usual robustness due to the missing string.
Luckily, CMJ hosts a friendly crowd and Marcus Mumford (playing tomorrow at the Merc) kindly stepped in and offered his own guitar. It was a huge help for Fanfarlo, and then they let loose. Now I can tell why their fans are so rabid: This band’s music is not in and of itself unique, but they pull together sounds from different eras, drawing in histories, and they utilize a number of instruments not usually given leading roles in popular music. The resulting sounds, played with great energy, made it impossible to resist the driving momentum of their songs. My favorite of the night was “Luna,” because Lucas brought out the saw. She played it so well that it sounded eerily human, natural and yet not. All in all, very impressive and well done. —Anna Loosli
CMJ Music Marathon Starts Today!
Tuesday, October 20th, 2009
The CMJ Music Marathon starts today, and The Bowery Presents has plenty of choices for you with multiple shows all week long at The Bowery Ballroom, Mercury Lounge and Music Hall of Williamsburg. Check out what some of the people at The House List are most excited to see:
Having had “Crystalised” playing on repeat for at least two straight weeks, it’s an understatement to say that I am looking forward to watching the xx perform at CMJ (Music Hall of Williamsburg, Friday). I have also heard there is some great hair I should try to catch on camera. ZAZA is on the wish list because I have yet to witness the atmospheric magic spun by my enchanting friend Jennie. I’ll also try to make the Screaming Females show (Mercury Lounge, Wednesday). I saw them last on Valentine’s Day, when that itty-bitty girl shredded her guitar into itty-bitty heart-shaped pieces. Her vocals hark back to the Dead Kennedys, which wins my deepest reverence. —Mina Kim, Photographer
I’ve got a list of bands I will try to see, among them Bang Bang Eche, an energetic electro-rock group from New Zealand. Check out their new single, “Fistful of Dollars,” and you can catch them around town on Wednesday. (Plus they’ve got shows next week at Music Hall, October 26th, and Mercury Lounge, October 27th.) Fanfarlo’s dreamy melodies and aching lyrics should be a big hit this year. They’re playing Music Hall tonight and The Bowery Ballroom tomorrow. The other group I am desperate to see is School of Seven Bells—playing Music Hall on Friday—who will blow your mind live. This band put out one of my favorite albums last year and is definitely worth checking out if you can make it. —Anna Loosli, Writer
I’m most excited for two Bowery Ballroom shows—Deer Tick on Thursday and then Portugal. The Man on Friday. I must admit that I love Deer Tick. With their tight songwriting and loose live performances, they’re a must-see band every time they play NYC. I’ve only had the chance to see Portugal. The Man twice, at Bonnaroo and Outside Lands, but each time I’ve found them eminently listenable and intriguing, and not just because of their strangely punctuated band name. —R. Zizmor, Editor
Built to Spill - Music Hall of Williamsburg - October 14, 2009
Thursday, October 15th, 2009
The Dodos Stay Quiet to Play Loud
Wednesday, October 14th, 2009The Dodos - Music Hall of Williamsburg - October 13, 2009
The Dodos barely spoke. Aside from the usual “How’s everyone doing tonight?” the crowd was an afterthought for this San Fransisco band consisting of Meric Long (guitar and vocals), Logan Kroeber (drums) and Keaton Snyder (vibraphone). In place of banter, the Dodos cultivated intimacy through the passion and focus of their performance.
While the Dodos’ music touches upon freak-folk influences like Animal Collective, it’s with a unique flair: Long used multiple pedals for his acoustic guitar while looping his vocals for a sprawling sound. Kroeber kept perfect time on a drum kit without a bass drum. Instead, he used a tambourine taped to his shoe. And the twang of Long’s acoustic guitar syncopated with Kroeber’s crisp rim shots created an incredible percussive experience. The group’s music also gained depth and complexity with Snyder’s vibraphone accompaniment. At times, he drew a bow along the edges of it for a pure ringing tone.
Songs off their new album, Time to Die, and previous records acted as a conduit for fierce jams and soft ballads. Early on, a roadhouse-blues feel emanated through Long’s battered acoustic guitar. Later, the Dodos played an excellent version of the band’s new single, “Fables.” But the performance’s capstone came with the lights off when Snyder and Long donned glow sticks on their fingers. Only Long’s iridescent strumming could be seen in the darkened room. The Dodos communicated through light and sound what words could only spoil. —Jared Levy
(The Dodos play a sold-out show tonight at The Bowery Ballroom.)
Photos courtesy of Jared Levy
Two Chances to See the Black Angels
Wednesday, October 14th, 2009
It’s hard not to like a band named after a Velvet Underground song. And the Austin, Texas, psychedelic rockers the Black Angels, whose name comes from the Velvet Underground & Nico track “The Black Angel’s Death Song,” do not disappoint. The band’s debut LP, Passover, earned them some well-deserved accolades, and their second album—following shows at Lollapalooza and SXSW—Directions to See a Ghost, got even better reviews. See what all the fuss is about when the Black Angels open for the Raveonettes tonight at Webster Hall and on Sunday at Music Hall of Williamsburg. (Meanwhile, check them out, above, playing “Better Off Alone.”)
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