Tag Archives: Music Hall of Williamsburg

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Dancing to the Drums

November 4th, 2011

The Drums – Music Hall of Williamsburg – November 3, 2011

(Photo: Sam Ellis)

Anyone happening to wander into Music Hall of Williamsburg last night without a clue as to who was playing needed only to glance at the stage, to the large black-and-white backdrop boldly proclaiming: the Drums. Although still a relatively new band, with the recent addition of two members and the release of their sophomore LP, Portamento, the Drums, now a five-piece, have grown into a band worthy of their own stage set.

Singing over driving bass and guitar lines reminiscent of Joy Division on fast forward, frontman Jonny Pierce was a captivating presence, dancing, swaying and gracefully pacing about the stage with a deliberate, just-understated-enough-to be-cool swagger. As he sang through numbers like “What You Were,” “Best Friend,” “I Need the Fun in My Life,” and “Book of Revelation,” Pierce crooned, belted and showcased his powerful falsetto—recalling the style of the equally emotive Morrissey more than a few times.

Although the band slowed things down for the ’50s-inspired “Down by the Water,” for the most part, the show was a nonstop collection of concise, taut dance numbers, with the sweaty crowd spending the set earnestly attempting to emulate Pierce’s singular moves. But what really whipped the crowd into a frenzy was the Drums’ performance of their song “Money,” with the recession-appropriate lyrics, “I want to buy you something/ But I don’t have any money,” which judging by the response, seemed to tap into some sort of collective angst. It was an excellent synthesis of one of the band’s unique strengths: the ability to weave deadpan, downbeat and lovesick lyrics into something we just can’t help but dance to. —Alena Kastin

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Blind Pilot Comes to Town for Three Shows

November 3rd, 2011


Drummer Ryan Dobrowski and singer-guitarist Israel Nebeker met in college and began making upbeat folk-ish music together. After graduation—and three months recording demos in a warehouse—the duo was ready to make their first LP as Blind Pilot, 3 Rounds and a Sound, which came out in 2008. Lots of bands go on the road to support an album, but few of them do as Dobrowski and Nebeker did: traveling with their instruments on bikes up and down the West Coast. In 2009, they got off those bicycles and rounded out the band and its sound by adding Kati Claborn (banjo and vocals), Dave Jorgensen (keys and trumpet), Ian Krist (vibraphones) and Luke Ydstie (bass and vocals) to the mix. The band began touring as a six-piece and recorded We Are the Tide, which came out this past September. Blind Pilot (above, doing “Keep You Right” for KEXP FM) plays The Bowery Ballroom tomorrow. The show is sold out, but have no fear because you can also see them there on Saturday and on Monday at Music Hall of Williamsburg.

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A Little Bit Country, a Little Bit Rock and Roll

November 2nd, 2011


Like many singer-songwriters (especially those with country leanings), Hayes Carll was influenced by the likes of Kris Kristofferson and John Prine, not to mention Bob Dylan. He got a guitar at 15 and began writing his own songs soon after that. Upon college graduation, Carll left Arkansas for Texas—first for Austin and then closer to his hometown, in Houston and Galveston—and began performing in bars. He was clearly talented and began to develop a local following, which has since blown up with the release of each of his albums, including the fourth and most recent, last winter’s KMAG YOYO (& Other American Stories). And since the acronym in the title comes from the military expression “Kiss My Ass, Guys, You’re on Your Own,” it’s safe to say this is one musician with a sense of humor. Back in July, he opened for Emmylou Harris and the Levon Helm Band at SummerStage (not too shabby!), but this time through, with Caitlin Rose opening, Hayes Carll (above, playing “Stomp and Holler” at the IFC Crossroads House during this year’s SXSW) headlines Music Hall of Williamsburg on Friday night.

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Double Down with the Sounds

November 1st, 2011


The Sounds have been making top-notch New Wave pop since the late ’90s. The group originally came together when Swedish classmates Johan Bengtsson (bass), Fredrik Blond (drums), Marja Ivarsson (vocals) and Félix Rodríguez (guitar) met in school. After a chance meeting with Jesper Anderberg (keys), the quartet became a quintet. Their debut album, Living in America, was performed in English but recorded in Stockholm. A second disc, Dying to Say This to You, followed in 2006. It was recorded in Oakland and due to Ivarsson’s vocals, drew comparisons to Blondie. The band self-produced and self-released Crossing the Rubicon, out in 2009, and Something to Die For, which leans more toward synthpop than ’80s rock, was released this past spring. Above, the Sounds do “No One Sleeps When I’m Awake” on Swedish TV, and they play Music Hall of Williamsburg tomorrow night and Webster Hall on Friday with Natalia Kills and the Limousines opening and Kids at the Bar DJing between sets.

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Three Nights of the Black Angels

October 28th, 2011


What’s better than two nights of the Black Angels? That’s right: three nights. The Austin, Texas, quintet plays Music Hall of Williamsburg tomorrow, Sunday and on Monday. (And, really, what’s a better way to celebrate Halloween than with some dark and dirty psychedelic rock?) The band, which takes its name from a Velvet Underground song, has consistently been putting out quality albums since the release of Passover in 2006. Their most recent disc, last year’s Phosphene Dream, finds them in equally fine form. And they always blow it out when the play live, which you can discover (or relive) for yourself over the next three nights. Watch the Black Angels, above, playing “Bad Vibrations” for Billboard.com and then do yourself a favor and go see them live.

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A Long Time Coming

October 27th, 2011

Lights Resolve – Music Hall of Williamsburg – October 26, 2011


An absurd amount of things could be said about the long road Lights Resolve have taken to finally release their debut full-length album, Feel You’re Different, but what stands out most is the way this band rocks live. Whether it’s during a jaw-dropping thrasher of a breakdown in their louder songs or the echo-y atmospheric guitar in their moodier tracks, Lights Resolve always puts stage presence and energy on the same level with the music, a muscle they were forced to strengthen throughout the years as they schlepped through the scene as a trio.

The tours they’ve been on, the fans they’ve met, the music they’ve created—each of these is part of the story of this album that came to a conclusion last night, as Lights Resolve celebrated the release with hometown fans and curious New York City concertgoers. But this wasn’t just a show like the countless others they’ve played, as early in the set a fourth member emerged to help lighten the guitar load that has always rested solely on lead singer Matt Reich. The addition spread out things sonically, letting Reich rip away even more as the lead on each track. And when a keyboard was set up later in the set, half of the crowd didn’t know how to react.

Reich explained that some of the songs on the new album were conceived this way, so he and bassist Luke Daniels traded their guitar and bass for keys and a violin, a nice touch for songs like “Hurt a Little.” Before long, however, it was back to the original trio of Reich, Daniels and drummer Neal Saini. They returned to business and even dug out “This Could Be The Last Time,” a song that dates to the beginning of the band. By then the different groups in the crowd had swirled together and compressed near the stage, giving Reich the perfect platform to conduct the “whoa-oh-oh’s” of one thing that will never change: the set-closing “Another Five Days.” —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

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Years Later, Death Finally Arrives

October 19th, 2011

Death – Music Hall of Williamsburg – October 18, 2011


Death was a three-piece hard-rock band from Detroit in 1975, a time when Motown ruled the airwaves and the sound in their neighborhood. After seeing Alice Cooper, the Hackney brothers realized they weren’t going to be another local R&B band. In addition to being a precursor to punk with their hard and fast guitar lines, their name was more than a little challenging, working against any chance they might have had at commercial success. After one single released on their own label—“Politicians in My Eyes” backed with “Keep on Knocking”—the band might have ended their Hendrix meets the MC5 pioneering sound in obscurity.

But great music doesn’t get off that easy, and Bobby Jr. , the lead vocalist’s son, thought he’d heard his dad’s voice on a 7″ at a party years later and their secret was out. Bobby Sr. dug out their unreleased studio recordings from storage and Drag City finally released …For the Whole World to See. Last night at Music Hall of Williamsburg, Death played almost the entire album to a new generation of fans who cleared the center of the floor in an arms flailing show of support. The brothers, who now live in Vermont, constantly thanked the fans, genuinely appreciative of the support of their sister city.

“We always heard New York was talking about what was going on in Detroit, and all we talked about was what was going on in New York.” Openers Cerebral Ballzy on this bill now seemed obvious, a logical descendant of Death, playing exactly the kind of subversive punk they want to play against expectations. It’s the stories behind forward-looking music that keeps those kids in their bedrooms and garages recording, even if it takes 30 years to finally acknowledge an album recorded by three brothers after school as groundbreaking. —Jason Dean

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CMJ Music Marathon Starts Today

October 18th, 2011


It’s that time of year again: 20-minute sets; in midtown one minute, the Lower East Side the next; scarfing down food with minutes to spare before the next show. From Mercury Lounge to The Bowery Ballroom and beyond, the CMJ Music Marathon is upon us. Here’re which bands we’re specifically looking forward to seeing play live. New York City quintet Caveman transfers any pop sensibilities into a dreamy landscape of lush indie harmonies through love, nostalgia and other sentiments. In support of their debut, CoCo Beware, Caveman will play 10 shows during CMJ, including the Bowery Presents showcase on 10/22 at Pianos. —Tina Benitez

The CMJ Music Marathon, now in its 31st year, is back to make five days in October seem impossible to navigate. Expect packed lineups at each venue because every band you ever wanted to see is in town. The supergroup Wild Flag, featuring Mary Timony, from Helium, and Carrie Brownstein, of Sleater Kinney among others, kicks off things tonight at The Bowery Ballroom. And at the same time Afro-punk Presents Death to Hip-Hop, featuring technical death-metal pioneers Death and Brooklyn’s own skate-pizza punk, Cerebral Ballzy, whose name really says it all. Wednesday’s pick has to be the ever-controversial indie rap group Odd Future at Terminal 5. Then on Thursday try to get into the sold-out lineup at Mercury Lounge, with garage-rock Xray Eyeballs and Florida’s Jacuzzi Boys, followed by Memoryhouse’s atmospheric shoegaze and finally, J. Mascis. You will show up at 6:30 and stay the entire night. Friday has more fuzzed-out pop with Dum Dum Girls and Crocodiles at The Bowery Ballroom, and if you sleep over, on Saturday, Gang Gang Dance’s experimental electronic beats just might give you a chance to recover. And then sleep on Sunday for 24 hours before work. That’s your CMJ. —Jason Dean

Last year I spent the majority of CMJ camped out at Terminal 5 for My Morning Jacket. But this year I plan to get around. Not everyone has an abundance of free time, so if you can only hit one show, my money’s on the High Road Touring showcase at The Bowery Ballroom on 10/20. And despite it being a stellar lineup from top to bottom, for me the No. 1 band to check out during the whole festival is Alabama Shakes (above, playing “I Found You” for Live from the Shoals). The quartet, out of small-town Athens, Ala., has a four-song EP and an incredible bluesy-soul sound. You won’t want to miss Brittany Howard’s voice. Sure, she’s a postal worker by day, but she’s a bona fide rock star by night. Don’t miss this. You’ll be able to tell your friends you saw this band at the very beginning. —R. Zizmor

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Stars – Music Hall of Williamsburg – October 11, 2011

October 12th, 2011


Photos courtesy of Mike Benigno | www.mikebenigno.wordpress.com

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Petty Fest – Music Hall of Williamsburg – October 5, 2011

October 6th, 2011

Photos courtesy of Mike Benigno | www.mikebenigno.wordpress.com

(Tonight’s Petty Fest at The Bowery Ballroom is sold out.)

Contest

Grow a Pair: Win Free Tickets to See James Blake on 10/6

October 4th, 2011

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James Blake has a new EP coming out next week. But this week he’s in town for two sold-out shows, tomorrow at Webster Hall and on Thursday at Music Hall of Williamsburg. And you’ve still got a chance to go to Thursday’s show even if you don’t already have tickets, because The House List is giving away two of them. So try to Grow a Pair. Just fill out the form below, including your full name, e-mail address, which show you’re trying to win tickets to (James Blake, 10/6) and a brief message explaining why electronic music does it for you. Eddie Bruiser, who would genuinely like to know, will notify the winner on Thursday. Good luck.

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Marnie Stern Doesn’t Do It by the Numbers

September 30th, 2011

Marnie Stern – Music Hall of Williamsburg – September 29, 2011


Everything about Marnie Stern is unexpected. From the tiny blonde frame that walks out onstage with otherworldly technical metal-guitar prowess delivering a childlike falsetto vocal, to being signed to Kill Rock Stars on the strength of an unsolicited demo tape, hers is one of those inspiring stories of hard work and talent you still want to believe can happen. Last night at Music Hall of Williamsburg, Stern completely let loose with mind-blowing performances of songs off her latest self-titled album.

From her blend of classic power metal and intricate arpeggio scales in “The Things You Notice” to the disparate internal rhythms of “Transparency Is the New Mystery,” she’s continuing to forge a riot grrrl-inspired experimental-noise rock sound that borrows just as much from Deerhoof as it does from Lightning Bolt. You also have to hand it to the very talented Vince Rogers for ably filling Zach Hill’s shoes from the recorded albums. His own drumming method is equally abnormal and precise, the perfect match to Stern’s dense complexity. Her natural ability on guitar, though, never feels showy and yet it somehow manages to be overshadowed by her powerful disarming voice on “Female Guitar Players Are the New Black.” For all the slight of hand, it’s the epic vocal that’s the core of the track.

The methodical recordings are faithfully executed and have to be seen to be believed. Given Stern’s unmatched raw ability, she’s grounded somehow, enjoying the performance, bouncing around the stage, joking with the audience about not loading the van or driving and being exhausted by her puppy. And, in turn, audiences are amazed by her freakishly skilled talent and because Stern is an impressive not-by-the-numbers songwriter in the same unjaded package. —Jason Dean

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Wild Beasts – Music Hall of Williamsburg – September 23, 2011

September 26th, 2011


Photos courtesy of Charles Steinberg

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Take a Ride with Deerhoof

September 21st, 2011

Deerhoof – Music Hall of Williamsburg – September 20, 2011

(Photo: Jared Levy)

To see Deerhoof live is to experience the effects of a roller coaster. Their songs propel forward, turn back and mercilessly pound against time signatures. A musical moment lingers and another speeds away. Guitar lines wind and bass notes raise, while the drums keep you fastened to the beat. And, like the most adrenaline-inducing rides, there is the fear of things falling apart; a trick manufactured by the clever designers. They’re aware of the human desire for safety, but deny the impulse, building and resolving tension in a careful balancing act. It’s dizzying in one sense, thrilling in another.

But sometimes roller coasters malfunction, and Tuesday night’s concert shared this likeness too. During one song, guitarist Ed Rodriguez’s high E string snapped. Greg Saunier, the drummer and founder of Deerhoof, appeared to have multiple instrumental difficulties. And, while lesser bands would let these snafus affect their performance, Deerhoof barely missed a beat. As Rodriguez replaced his string, Saunier ad-libbed a hilariously disjointed story to stall. His sense of humor and logic defying drum play stood out as the most impressive characteristics of the night. But, like a roller coaster, individual moments stand out less than the ride’s unforgettable excitement, and over a full set and two encores, Deerhoof created an extraordinary ride. —Jared Levy

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Serenity Now

September 19th, 2011

Wanderlust Williamsburg Music and Yoga Festival – Music Hall – September 17, 2011


Countless poses have no doubt been struck onstage and off at Music Hall of Williamsburg, but perhaps none as unique and powerful as those demonstrated during the two sold-out yoga classes taught by masterful teachers Elena Brower and Schuyler Grant during the Wanderlust Williamsburg Music and Yoga Festival on Saturday. The entire venue was transformed, with revelers more likely to be sipping a smooth chai shake (from the Shanti Shack) than a foamy beer—and toting yoga mats while sporting sweats instead of jeans and motorcycle boots.

Brower and Grant taught two yoga classes during the day before the space was reclaimed as a music venue at night, with performances from Forro in the Dark and Karsh Kale. For their second class, the two teachers centered the practice around the mantra “I am my highest self.” As the class wound through a series of poses, Brower and Grant continuously returned to this concept, encouraging practitioners to push themselves to their fullest potential, their highest self.

In between tadasanas (mountain pose) and utkatasanas (chair pose), musician Garth Stevenson provided beautiful ambient music from his upright bass, at times spare and alternately quite lush, in order to accompany the rhythm and flow of the yoga. Later on, Karsh Kale stepped onstage behind a set of turntables, DJing the remainder of the class with a fusion of traditional Indian sounds and electronic beats. After emerging from savasana (corpse pose), yogis and yoginis rolled up their mats and got ready to sweat even more at the impending dance party. By the night’s end, Music Hall of Williamsburg may have returned to its original purpose, but hopefully imbued with some new energy, thanks to Wanderlust and the power of yoga. —Alena Kastin