The Bowery Presents

Posts Tagged ‘photos’

West Coast Reggae Comes to Terminal 5

Friday, November 20th, 2009

Slightly Stoopid/the Aggrolites - Terminal 5 - November 19, 2009

The Aggrolites - Terminal 5 - November 19, 2009

The Aggrolites

Last night, Terminal 5 hosted a two-band reggae-tastic lineup of Slightly Stoopid and the Aggrolites. While both bands hail from Southern California, they couldn’t be more different while still exhibiting great modern talent within such a niche and dated genre.

Los Angeles’ the Aggrolites play what they call “dirty reggae”—a sort of darker, organ-lead, punk-influenced version that fits perfectly into the Hellcat Records catalog. Although he commented that the show was the largest yet on their tour, frontman Jesse Wagner had no problem working the stage and getting the young crowd to interact with the band. Over the course of their hour-long set, the black-clad quintet played a selection of songs from all of their releases, including a standout track from their 2006 self-titled album, “Countryman’s Fiddle,” which tells of a love for the soul of reggae, and a cover of the Beatles’ “Don’t Let Me Down.”

Slightly Stoopid’s take on the genre is much more loose and chill, though their older material actually plays more as reggae-infused punk rock. The San Diego-area-based band doesn’t do much to mask their influences—fellow SoCal band Sublime is an easy comparison—but that is perhaps their strongest selling point. Many of the band’s songs reference one of their favorite pastimes, getting high, and again they exhibit no shame there, to the point of introducing “Above the Clouds” as a song about just that. Their 90-minute set had the sea of fans moshing, crowd-surfing and at some points even trying to light up. —Kirsten Housel

Photos courtesy of Kirsten Housel

Blind Pilot - The Bowery Ballroom - November 19, 2009

Friday, November 20th, 2009

Blind Pilot - The Bowery Ballroom - November 19, 2009

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

The Dead Weather - Music Hall of Williamsburg - November 17, 2009

Wednesday, November 18th, 2009

The Dead Weather - Music Hall of Williamsburg - November 17, 2009

Photos courtesy of Dino Perrucci | dinoperrucciphotography.com

Peaches - Terminal 5 - November 14, 2009

Monday, November 16th, 2009

Peaches - Terminal 5 - November 14, 2009

Photos courtesy of Diana Wong | dianawongphoto.blogspot.com

Wolfmother Turns It Up to 11 over Two Nights

Tuesday, November 10th, 2009

Wolfmother - Music Hall of Williamsburg - November 9, 2009

Wolfmother - Terminal 5 - November 8, 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

Alberta Cross Proves Why It Pays to Get to a Show Early

Monday, November 9th, 2009

Alberta Cross - Mercury Lounge - November 6, 2009

Alberta Cross - Mercury Lounge - November 6, 2009
A surprisingly large crowd made the post-work trek to the early show at Mercury Lounge on Friday to see the ethereal blues-rockers Alberta Cross. As a reward, the band put on a remarkable performance for an early billing. Alberta Cross is multifaceted to say the least. Swedish frontman Petter Stakee’s earnest vocals contrasted lead guitarist Sam Kearney’s violently melodic style and captivated the crowd. Behind them, the rhythm section of Terry Wolfers, Alec Higgins and Austin Beede helped the band jump from their more Southern rock-style jams to their lighter, more melody-driven tunes.

The band featured a heavy dose of their full-length debut, Broken Side of Time (released in September), and highlighted tunes like “Song Three Blues,” a slow-burning blues ballad. Stakee’s thin frame swayed back and forth when not glued to the microphone, dishing out his own dose of erratic guitar lines. Alberta Cross displayed incredible aural control, matching four-part vocals and wild instrumental breaks without letting their sound get too muddy and loud. Stakee’s voice rang the loudest, exceptionally showcased on “Taking Control,” on which he wailed in a strikingly high register. The band wound down with “Rise from the Shadows” (a song Stakee described as “gospel”), involving the crowd with the simple chorus and all sorts of clapping, and ended their early set all to quickly. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

Monsters of Folk - United Palace - November 6, 2009

Monday, November 9th, 2009

Monsters of Folk - United Palace - November 6, 2009

Photos courtesy of Dino Perrucci | dinoperrucciphotography.com

These Girls Are Smoking Hot

Monday, November 9th, 2009

Girls/Real Estate - The Bowery Ballroom - November 6, 2009

Girls - The Bowery Ballroom - November 6, 2009
Expectations invariably follow Girls. From their emergence on the indie-music scene, San Francisco natives Christopher Owens and JR White have captured imagination and awe. Perhaps it is Owens’s tortured lyrics paired with Girls’ ’60s pop-rock sound, an enigmatic combination to outsiders, but a magnetic force for fans. Or perhaps it is the steady stream of media plaudits for the group’s debut album, Album. Regardless, on Friday at The Bowery Ballroom, a sold-out crowd teemed around the stage to witness the band behind the story.

Real Estate, out of Ridgewood, N.J., opened the show. The quartet delivered washed-out guitar riffs with a cool, breezy feel. Songs like “Black Lake” highlighted the band’s use of muffled melodies to communicate laid-back ease. For their brief yet highly danceable tune “Green River,” Girls’ Owens lent a hand on tambourine. Real Estate has yet to release an LP, but their music is available on two 7-inch records, Fake Blues and Suburban Beverage.

As Girls took to the stage, the crowd immediately requested songs. “Lust for Life!” someone near me shouted. While this kind of heckling may throw off some bands, Owens and Girls never appeared fazed. The band played most of Album’s singles, including a mellowed-out version of “Hellhole Ratrace,” “Lauren Marie” and, yes, even “Lust for Life.” Owens switched between a vintage-style Rickenbacker electric guitar and an acoustic one throughout the show. White, solid and steady on the bass, and the rest of the newly revamped touring band ably backed Owens. Girls gave a solid performance for arguably the most-hyped band around. Owens, in somewhat of an acknowledgement to this fact, responded to an audience member asking, “Are you cold?” with: “I’m smoking hot.” —Jared Levy

Photos courtesy of Jared Levy

Ray LaMontagne - Beacon Theatre - November 5, 2009

Friday, November 6th, 2009

Ray LaMontagne - Beacon Theatre - November 5, 2009

Photos courtesy of Dino Perrucci | dinoperrucciphotography.com

They Always Entertain, No Matter What They Call Their Band

Friday, November 6th, 2009

Islands - The Bowery Ballroom - November 5, 2009

Islands - The Bowery Ballroom - November 5, 2009
The Unicorns were a surprising mix of indie-pop experimentation. They broke all kinds of rules, all while crafting funny, ridiculous, hypertwee adolescent pop. Their first album was a critical success, so they immediately disbanded to reform as th’ Corn Gangg, briefly playing hip-hop covers of Unicorns songs. Following another break up, they returned as Islands, which, as Nick Thorburn constantly reminds interviewers, are forever. Two members remain at the core of all of these projects: Thorburn and Jamie Thompson, whose tumultuous relationship has spawned some of the most endearing and innovative pop songs over the past 10 years.

Islands, known for their onstage theatrics, didn’t disappoint. Dressed in all white, almost Greek-influenced robes with head wreaths, Thorburn headed the forum with a James Brown-inspired, diamond-studded cape. Comfortable onstage, all through “Vapours” he stared down at fans, baptizing them with a push of his hand, swiping their beer or even picking up a notebook left on the edge of the stage and writing the owner a note. There’s an inherent sense of humor to their music that still comes from that experimental place of unorthodox instrumentation and clever lyrics. Who else could passionately deliver “Uncross my arms/To disarm the car bomb/It’s taking too long/Something must be wrong”? Islands are taking their playful formula further and further with each album, becoming more polished, and reintroducing synth and dance rhythms in pursuit of that perfect pop sound. Saving the best for last, they indulged the crowd with “Rough Gem,” which launched the Bowery crowd into a final frenzy of indie-rock proportions. —Jason Dean

Photos courtesy of Mina K

Thievery Corporation - Terminal 5 - October 31, 2009

Monday, November 2nd, 2009

Thievery Corporation - Terminal 5 - October 31, 2009

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

They Might Be Giants/Nada Surf/Charles Bissell - Music Hall - October 28, 2009

Thursday, October 29th, 2009

They Might Be Giants - Music Hall of Williamsburg - October 28, 2009

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

Michael and Michael Have Issues - Wellmont Theatre - October 27, 2009

Wednesday, October 28th, 2009

Michael and Michael Have Issues - The Wellmont Theatre - October 27, 2009

Photos courtesy of Kirsten Housel

An Eagerly Anticipated Night

Tuesday, October 27th, 2009

Far - Mercury Lounge - October 26, 2009

Far - Mercury Lounge - October 26, 2009
The drunk chatter in the crowd as fans eagerly anticipated Far taking the Mercury Lounge stage pretty much revolved around one thing: excitement. “I’ve been waiting 10 years to see this band,” said one 26-year-old crammed into a nook directly in front of the stage. The band hit stride while playing “Water & Solutions,” “Man Overboard” and “Bury White,” three songs off the 1998 fan favorite and emo-heavy album, Water & Solutions. (Also the last disc before the band’s split the following year.)

A couple of songs later, frontman Jonah Montranga explained that he wanted to be in the audience, dancing and sweaty with them—but not crowd-surfing (as a few fans had previously done and tried to help him do). And, as a long segue into “Nestle,” he discussed growing up and having kids, and how parenthood is scary, but also amazing, like when he saw his friend’s young daughter dancing at the previous night’s soundcheck. “Really Here,” another song off Water & Solutions, received a mass crowd sing-along and pit fury similar to that which greeted the earlier songs from that album.

Far then left the stage after one more song, but returned to play another four. Montranga asked the crowd if they still had it in them, and, boy, did they. “Mother Mary” received the most raucous response of all. At one point toward the end of the set, Montranga commented, “We know some of our best ‘New York’ shows have been in New Jersey. And, some of our best ‘New York’ shows have been in Long Island.” But, as he went on to explain, they were in the city now, and this was truly one of their best New York shows. —Kirsten Housel

Photos courtesy of Kirsten Housel

They Came from Jersey to Rock NYC

Monday, October 26th, 2009

Thursday/Far/Midnight Masses - The Bowery Ballroom - October 25, 2009

Thursday - The Bowery Ballroom - October 25, 2009
Last night’s Bowery Ballroom show boasted an impressive lineup: Thursday, Far and Midnight Masses. The latter is known as a collective of musicians from bands like …And You Will Know Us by the Trail of Dead and Santogold, while Far is known for its highly influential sound and cult following that formed in the ’90s. But the band of the night was definitely Thursday, out of New Brunswick, N.J.

When Thursday played The Bowery just a month ago, they announced that last night’s show would have them playing their entire 2001 Victory Records debut, Full Collapse, the album that took them from playing dingy basements to headlining large tours. From the first chords of the disc’s opener—and unexpected hit single—“Understanding in a Car Crash,” The Bowery Ballroom’s floor was alive with action from the fans. Onstage, singer Geoff Rickly danced around, arms flailing in his perfectly calculated and characteristic way. While it’s a spectacular genre-defining album in its own right, it’s only when played live that the band’s fury is really showcased. “Autobiography of a Nation” and “Cross Out the Eyes” contained blood-curdling yelps and screams that starkly contrasted with the smooth tones of Rickly’s singing voice.

After completing the 42-minute Full Collapse and leaving the stage, Thursday returned to play a handful of songs, including “The Other Side of the Crash/Over and Out (Of Control),” off 2006’s A City by the Light Divided, and “Friends in Armed Forces,” from their most recent release, this year’s Common Existence. Thursday finished by releasing a dozen large black balloons into the air and playing fan favorite “Jet Black New Year.” —Kirsten Housel

(Far plays tonight at Mercury Lounge.)

Photos courtesy of Kirsten Housel

Bob Weir & Ratdog - Grand Ballroom - October 20, 2009

Wednesday, October 21st, 2009

Bob Weir & Ratdog - Manhattan Center Grand Ballroom - October 20, 2009

Photos courtesy of Dino Perrucci | dinoperrucciphotography.com

A Revealing Two Hours with Andrew McMahon

Tuesday, October 20th, 2009

Andrew McMahon - The Bowery Ballroom - October 19, 2009

andrew-mcmahon-at-bowery-ballroom-03
Perhaps the best thing about a solo Andrew McMahon show is the plethora of material he has under his belt to play. As the only artist on The Bowery Ballroom bill, McMahon spent two hours playing songs from his Something Corporate days and from his time with Jack’s Mannequin, plus he did some covers. A truly gifted vocalist when it comes to heartfelt, emotional, storytelling songs, McMahon knows how to draw in his listeners and keep them hooked. And last night’s bare-bones live performance, in which his only accompaniment was his piano—and at times Jack’s Mannequin’s Bobby “Raw” Anderson on guitar—was the perfect venue for such a talent (and a great way for fans to hear the stories behind many of the songs).

McMahon told how the Jack’s Mannequin song “The Resolution” was about him owning up to a lot of shit, how someone at a previous show told him he didn’t have the range to sing “Moon River” from Breakfast at Tiffany’s, how the “blow, blow, blow (me away)” part from Something Corporate’s “Cavanaugh Park” can easily get stuck in one’s head, and even how his brother makes fun of him for crossing his legs like a girl. All received amused grumbles and laughs from the miked, half-seated audience. As for the songs, Jack’s Mannequin’s “Swim” and “Walking By” and Something Corporate’s “The Astronaut” and “Punk Rock Princess” garnered a warm crowd response. But the closer, “The Mixed Tape”—also a Jack’s Mannequin song—received the biggest audience sing-along of the set. —Kirsten Housel

Photos courtesy of Sean O’Kane | seanokanephoto.com

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