The Bowery Presents

Posts Tagged ‘Review’

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Still Going Strong After Two Decades

Thursday, September 2nd, 2010

Lou Barlow & the Missingmen - Mercury Lounge - September 1, 2010

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To say it’s impressive for Lou Barlow to be performing and creating at this consistent level for 20 years is an understatement. He reinvented lo-fi and inspired an army of four-track home-recording artists in the ’90s. He’s been a part of more than his share of pioneering indie-rock bands, all the while tempering sincere moments with an experimental sound collage. To be transported into his bedroom in those early Sebadoh tapes was an education in home recording and songwriting. He has nothing to prove but you wouldn’t have known it last night at Mercury Lounge.

Barlow is at his best unguarded with just an acoustic guitar, and that’s how the night began with a Folk Implosion classic, “Easy,” “Magnets Coil” and even “Puzzle,” off his proper solo album, Emoh. He’s always worn his emotions on his sleeve and isn’t precious about performing these early-career songs. It’s clear, when played stripped down, that the strengths of each are his vocals and how he can be both heartbreakingly intimate and punk rock in the same verse.

The Missingmen joined the reluctant Barlow, who was in good spirits, to flesh out material from his latest, Sentridoh III. They tackled the distortion-ridden tracks, swapping guitars, and inevitably Barlow’s glasses would fall off when things got thrashing. The night ended with him going back to playing solo, a ukulele on his knee and happily taking requests from the audience. It was a great balance of an entire body of incredible songwriting, acknowledging the past and looking ahead to the future. All this success hasn’t come without setbacks: Barlow has persevered through band and label breakups, recently patching up things with ex-bandmate J Mascis and recording with Dinosaur Jr. He’s proved over and over that the nice, sensitive guy can get the girl in the end…and he actually seems pretty happy about it. —Jason Dean

A Full Day of Hip-Hop on Governors Island

Monday, August 30th, 2010

Rock the Bells - South Island Field at Governors Island - August 28, 2010

Lauryn Hill - South Island Field at Governors Island - August 28, 2010
With less than a month remaining in the summer, many of hip-hop’s living legends and cunning contemporaries assembled on South Island Field at Governor’s Island for the seventh annual Rock the Bells. Thousands dressed in Wu-Tang Clan T-shirts and tank tops took the short ferry ride to the festival grounds where thousands more crowded around two stages to share in the American pastime of hot dogs, lemonade and blunts. With so many great acts to see and ridiculous people watching, the following is a list of the best moments at this year’s festival:

Best Underdog: Brother Ali, the self-proclaimed, “Fat-ass Muslim, albino rapper,” used his competing set time with KRS-One to captivate his loyal audience. Although the sun’s unforgiving rays seemed to deep-fry the MC, Brother Ali fought back with fierce rhymes, preaching tolerance and thoughtfulness. You came for the Minnesota rapper but you stayed for DJ Snuggles, the multitalented 22-year-old who spun, beat-boxed and even rapped on Brother Ali’s beats.

Best Looking Tent Food: Sweet corn cakes with mozzarella. I didn’t get them but I’ll be damned if I didn’t ogle the precarious sounding treats every time I walked past the tent.

Best Extended Breakdown: More than a decade after The Miseducation of Lauryn Hill, Ms. Lauryn Hill played Rock the Bell’s main stage with a full band, backing singers and an outfit somewhere in between Little Miss Muffet and a church lady. It was a treat to see her perform such songs as the Fugees’ “Ready or Not” and “How Many Mics,” however the best moments came when versions of “To Zion” and “Fu-Gee-La” spun into a pageant for friends and family members. Highlights included Hill calling all her children to the stage as well as Chris Rock, Jay-Z and a very pregnant Alicia Keys.

Best in Show: A Tribe Called Quest and Wu-Tang Clan (tied). Call me biased, but how can you top New York City’s two legendary hip-hop groups playing their classic albums? You can’t, and that is why the Queens and Staten Island natives drew the largest and most devoted crowds at the festival. Q-Tip and Method Man played frontman to their respective group’s sets, both coming out into the crowd for their go-for-broke performances. Personally, I give the slight edge to A Tribe Called Quest solely for Busta Rhymes’ ground-shaking cameo during “Scenario.” However, the late ODB’s son Boy Jones’ flawless impersonation of his father during Wu-Tang Clan’s set is a very close second. —Jared Levy

Photos courtesy of Jennifer Macchiarelli | www.jennylow.com

It’s a Family Affair

Monday, August 23rd, 2010

Hacienda - Mercury Lounge - August 21, 2010

Hacienda - Mercury Lounge - August 21, 2010
Hacienda—three Villanueva brothers (Rene, on bass and vocals, Abraham, on piano and vocals, and Jaime, on drums and vocals) and one Schwebel cousin (Dante, on guitar and vocals)—caught an early break when Dan Auerbach of the Black Keys got a hold of their six-song demo. One thing led to another and eventually the band finished an album at his studio and was opening for the likes of the Black Keys and Dr. Dog and gaining wider exposure. Last year, along with My Morning Jacket drummer Patrick Hallahan, they backed Auerbach on his Keep It Hid tour.

This year, Hacienda released their second disc, Big Red & Barbacoa, and they played plenty of it on Saturday night at Mercury Lounge. With their four-part harmonies, early-Kinks intensity and surf-rock influences, the plaid-heavy San Antonio quartet played a sweaty, energetic 45-minute set of swaggering, hip-shaking rock and roll, punctuated by Schwebel’s vibrant guitar solos. Onstage, songs like “Shake Ya” and “Mama’s Cookin’” emerged more rollicking and raw than their studio versions. At one point Schwebel said, “Here’s a song for Saturday night.” And he was right. —R. Zizmor

(Hacienda opens for My Morning Jacket at Terminal 5 on October 19th.)

Photos courtesy of Sean O’Kane | seanokanephoto.com


You Can’t Keep a Good Ska Band Down

Monday, August 23rd, 2010

The English Beat/Bad Manners - Webster Hall - August 21, 2010

The English Beat - Webster Hall - August 21, 2010

The English Beat

The floor at Webster Hall probably never shook as much as it did last night when 2 Tone ska revivalists the English Beat and Bad Manners were onstage. During both sets, the crowd filled every foot of the main floor, skankin’ and boppin’ to each note from these legendary music makers. Bad Manners—perhaps best known for bald-headed frontman Buster Bloodvessel’s outlandish personality, oversize tongue and animated onstage antics—played a rowdy set of career favorites, with an amped-up horn section, including the up-tempo “Lip Up Fatty” (the band’s most well-known song about being fat had Bloodvessel swinging his gut every which way) and the slightly slower-grooved and perfect for this time of year “Walking in the Sunshine.”

Upon taking the stage, the English Beat immediately jumped straight into their rendition of “I’ll Take You There” before an onslaught of original chart-topping material, including “I Confess,” “Save It For Later,” which segued into a few bars of Pearl Jam’s “Better Man,” and “Can’t Get Used to Losing You.” They also covered General Public’s “Tenderness,” did a newer original, “Loving You Lasts Forever,” and closed with “Mirror in the Bathroom.” Although singer Dave Wakeling was a man of limited words, except joking about calling one’s mum to let her know you’re safe (and not drinking too much), first-class toaster Antonee kept the interludes moving and the ladies in mind with chants like: “I want a 2 Tone lady, a 2 Tone girl,” which eventually morphed into something raunchier, “I want a 2 Tone BFF, so we can go home and just F, F, F.” —Kirsten Housel

Photos courtesy of Kirsten Housel

Devendra Banhart Defies Expectations

Friday, August 20th, 2010

Devendra Banhart and the Grogs - Terminal 5 - August 19, 2010

Devendra Banhart and the Grogs - Terminal 5 - August 19, 2010

Devendra Banhart and the Grogs opened their set last night at Terminal 5 with Cripple Crow’s “Long Haired Child.” Fans who have followed Banhart’s music over the years likely associate the artist himself as a long-haired child—originally gaining popularity as a bohemian, shaggy-locked musician, prone to singing winding freak-folk tales over a gently plucked guitar. Yet the Banhart who appeared onstage last night, hair and beard trimmed short, dressed sharply in a tailored blazer, spent the night defying expectations.

In addition to performing tracks like “Angelika” and “First Song for B” from his latest release, What Will Be, a collection of mellow folk peppered with Latin influences, Banhart enjoyed shifting among different sounds, genres and moods throughout the show. He hammed it up as frontman, strutting and dancing around the stage during songs like “Baby,” and then Banhart picked up his guitar and revisited older favorites, with delicate solo renditions of “The Body Breaks” and “A Sight to Behold,” the latter as lovely and mournful as ever. When the band returned to the stage, Banhart shifted gears yet again, performing an intense, snarling cover of Johnny Thunders“You Can’t Put Your Arms Around a Memory,” an extended classic-rock-style jam of “Seahorse” and an ebullient “Carmensita.”

Although perhaps neither fans nor the shaggy, psych folk-leaning Banhart of yesteryear would have predicted that by 2010 he would be clean-shaven and dancing goofily while performing a rocking cover of the 1988 Taylor Dane hit “Tell It to My Heart”—perhaps the night’s biggest surprise—I’m guessing if Banhart saw how much fun he’d be having, the long-haired child would approve. —Alena Kastin

Photos courtesy of Jennifer Macchiarelli | www.jennylow.com

Not Even Nerves Can Stop MGMT

Wednesday, August 18th, 2010

MGMT - Radio City Music Hall - August 17, 2010

MGMT - Radio City Music Hall - August 17, 2010
MGMT performed the majority of their first of two sold-out Radio City Music Hall shows covered in shadows. The focal point of the venue’s cavernous stage instead fell upon an onslaught of colorful psychedelic images and lights projected onto a backdrop of large abstract shapes. The eager crowd danced and waved glow sticks as the band played material from their most recent album, Congratulations, with the trippy visuals complementing the eclectic-retro sound on songs like “Brian Eno,” “Flash Delirium,” “It’s Working” and “Siberian Breaks.”

In addition to newer material, MGMT also played a sizable portion of their 2008 breakthrough album, Oracular Spectacular. Though two years have passed since its heyday, one of the loudest cheers of the night erupted with the opening notes of “Time to Pretend,” the group’s tongue-in-cheek tale of rock-star excess, which unwittingly became the soundtrack to every hipster BBQ and house party from Brooklyn to Brisbane that summer. Despite the fact that in the years since the song was written, MGMT founding members Andrew VanWyngarden and Ben Goldwasser have actually become what most would consider bona fide rock stars, with fancy magazine-cover stories and headlining slots at festivals around the world, their understated performance further cemented the fact that they have certainly not become the rock-star clichés they once wrote about.

As the show began to wind down, the modest rockers finally let the lights come up a bit during the undeniably catchy “Kids,” with Goldwasser and VanWyngarden stepping away from their instruments and awkwardly, endearingly attempting to dance with the crowd—but mostly just looking down, nodding their heads to the beat and wandering around the stage as they sang. When the song finished and the crowd erupted with approval, VanWyngarden seemed relieved, admitting in utter un-rock-star fashion that when faced with the task of playing Radio City Music Hall, “I think we were a little bit nervous.” —Alena Kastin

Photos courtesy of Greg Aiello | www.ga-photos.com

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In Case of Emergency: Add Brown Liquor

Monday, August 16th, 2010

Deer Tick - Webster Hall - August 13, 2010

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Friday the Thirteenth proved to be a lucky night to be at Webster Hall. The crowd enthusiastically greeted Delta Spirit frontman Matt Vasquez (“I’m not anything without my band”) as he opened with a short set of his own songs plus covers of It’s Always Sunny in Philadelphia and Neil Young. Then, playing their last U.S. show before heading overseas next month, Deer Tick was fittingly welcomed to the stage with an air horn. The Providence, R.I., quintet went right into “Choir of Angels,” the opening track from their terrific new album, The Black Dirt Sessions.

The disc is notable for a change in Deer Tick personnel, with guitarist Ian O’Neil, formerly of Titus Andronicus, and keyboardist Rob Crowell joining the band. O’Neil is a big addition with his songwriting (“Hope Is Big”), singing and frenetic guitar playing, clearly evident onstage during “Baltimore Blues No. 1,” which has been reworked with Christopher Ryan’s ’50s-coffehouse-bassline opening. Crowell’s influence was most obvious on an ambling version of “Ashamed,” as he effortlessly shifted from keys to sax mid-song (while ringleader John McCauley slid from crooner mode to keys player) as the crowd throatily sang the chorus.

Of course McCauley, his voice endearingly ragged on “Christ Jesus,” was his usual engaging presence, cracking jokes, singing to girls and sharing his bottle of Jack with the audience—plus he even played a little air horn when just he and drummer Dennis Ryan returned to the stage following the encore break. The other guys eventually joined them on an upbeat “Easy.” And then as people sprayed band-supplied Silly String into the air, it seemed like the show would close with the rambling honky-tonk of “Mange,” but the group responded to the loud crowd and returned with one more, a heartfelt a cappella “Dirty Dishes” before closing out their tour. Look out, Europe: Deer Tick is coming. —R. Zizmor

Looking August and Feeling October

Thursday, August 12th, 2010

Memoryhouse - Mercury Lounge - August 11, 2010

Memoryhouse - Mercury Lounge - August 11, 2010
It felt like October last night at Mercury Lounge. Certainly not because of the weather, but because the packed bill of would-be headliners smashed together made for a show pulled straight out of the CMJ Marathon. Following a raw and catchy set by Brooklyn’s Oberhofer and a breathtaking hour from Twin Sister, the top-billed Memoryhouse had big shoes to fill. But the Canadian trio didn’t miss a beat, pumping out swirling music as the crowd pushed closer and closer to the stage as the night progressed.

Despite playing one of their first local shows, the band looked and sounded like they’ve been around far longer. Completely bathed in cool light projected from the sound booth, Memoryhouse started with a slightly remixed version of “Lately (Deuxième).” Intensely memorable and sweet to the ears, it was a perfect introduction for those new to the group.

The rest of the set was filled with eerie beats like on “The Waves” and “To the Lighthouse,” another single-worthy song that was easy to get lost in. Luckily the show wasn’t completely like one from CMJ, as Memoryhouse played for more than 30 minutes, ending with a brilliantly irregular cover of My Bloody Valentine’s “When You Sleep.” —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

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Takin’ It to the Streets

Wednesday, August 11th, 2010

Jonah Matranga - Mercury Lounge - August 10, 2010

(Photo: Kirsten Housel)

(Photo: Kirsten Housel)

Jonah Matranga has been making music for nearly 20 years, and last night’s Mercury Lounge show—on the eve of his 41st birthday—was a perfect reminder of why he’s still relevant after all these years and different projects. It basically became a by-request set with plenty of songs Matranga hadn’t recently played. He opened with “Pollyanna,” a long-time crowd favorite from his onelinedrawing days, then played a powerful new one, “This Is Who I’m Gonna Be,” and what he referred to as the previous tune’s older cousin, “Lukewarm” (from New End Original).

Matranga spoke often, explaining songs and talking about the memories each holds for him. His solo sets are always stellar because of the way he connects with those in the audience, giving them anecdotes, listening to their retorts and humbly cracking jokes about himself. Matranga’s singer-songwriter skills stem not only from his personable crowd interactions, but also from the heightened sense of emotion and urgency he throws into his music. At one moment he is quietly crooning, and the next he is red in the face, wailing into the microphone. With his eye on the clock, Matranga ended the set with songs of his choice: New End Original’s “#1 Defender,” “Definitely Definitely Definitely” (“a totally ridiculous, totally retarded” song) and “14-41” (in which he sings “you start blind, end up dumb”).

Although his time onstage was finished, Matranga wasn’t ready to end the night. Not even 20 minutes later, a crowd circled around him outside, just west of Mercury Lounge. He started with “Better Than This,” a usual staple of his set. After several more songs, two rounds of “Happy Birthday” (including one just after midnight) and a couple of buckets of water from upstairs neighbors, the set and the night ended perfectly. —Kirsten Housel

Glam-Pop Duo Electrifies Terminal 5

Tuesday, August 10th, 2010

Empire of the Sun - Terminal 5 - August 9, 2010

Empire of the Sun - Terminal 5 - August 9, 2010
In what was probably the most baroque Terminal 5 performance of the year, Aussie group Empire of the Sun used every inch of the stage last night. From the moment a spandex-wearing girl sat onstage reading a book under a fake tree during the Juan Maclean’s DJ set, it was obvious both the odd and the oddly specific would be embraced all night.

Fresh off a performance at Lollapalooza, Empire of the Sun’s Luke Steele, adorned in a sun-ray headdress and sweeping robes of various colors, took the stage surrounded by a cadre of costumed dancers. Rivaling looks that Lady Gaga would sport, the dancers did everything from mock-play light-up cardboard guitars to arbitrarily lay down cones onstage while wearing fish masks. Steele’s presence was fun and nearly tongue-in-cheek, and he was visibly in awe of the crowd that was brimming at the edges of each of the three floors.

The music bounced around genres a bit, sounding at times like MGMT-styled psych-rock and at others like Prince (with one song sounding dangerously close to “When Doves Cry”). Early in the set the band played “We Are the People,” the never-leave-your-head single that was featured in a Vizio commercial, but saved the twice-platinum (in Australia) “Walking on a Dream” for the encore. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

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A Fire in the Garden

Friday, August 6th, 2010

Arcade Fire - Madison Square Garden - August 5, 2010

(Photo: Mina K)

(Photo: Mina K)

Both physically and symbolically, Madison Square Garden represents the center of entertainment in New York City. Elongated posters of iconic images remind visitors of the venue’s historic past in sports, music and, yes, the Westminster Kennel Club dog show. By the shear force of its name, MSG amplifies all events it houses. So when Arcade Fire booked not one but two headlining dates this August, expectations abounded.

The Canada-based indie-rock band is responsible for two outstanding records, Funeral and Neon Bible, and they released their third album, The Suburbs, this week. While this is a relatively small discography for a band scheduled to sell out “the World’s Most Famous Arena,” songs like “Wake Up” have permeated the mainstream. On Thursday night against any and all doubts, Arcade Fire delivered an unforgettable performance.

Supported by openers Owen Pallett and indie-rock veterans Spoon, Arcade Fire filled the venue with their triumphant songs, boundless energy and wholly transfixed fans. All nine members of the touring band dressed like an advertisement for individuality. In addition to frontman Win Butler’s fawned-over-on-the-Internet haircut, Régine Chassagne wore a sequined dress and Richard Reed Parry seemed to have found one of David Bowie’s vintage jumpsuits. Their appearance, as well as Terry Gilliam’s simultaneous live Webcast, acted as a show within a show. This, however, was secondary to the group’s incredible renditions of anthems “Rebellion (Lies),” “Keep the Car Running” and “Intervention.” There was an urgency and awareness to their performance, which truly connected with the audience. At the end of their encore featuring “Neighborhood #1 (Tunnels),” it strangely felt as if MSG wasn’t big enough for Arcade Fire. —Jared Levy

(Check out highlights of this show here.)

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Amongst the Wavves

Tuesday, August 3rd, 2010

Wavves - The Bowery Ballroom - August 2, 2010

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For all his songs about weed, surfing and video games, Nathan Williams of Wavves has had to endure a lot of online criticism. Maybe it’s because it looks like he’s having too much fun. On his latest album, King of the Beach, out today, Williams has expanded his sound from lo-fi overblown fuzz into bigger, cleaner melodies that remain sloppy and enthusiastic. It’s still a barrage of jangly power chords with a thrown-together ramshackle feel. And if he’s got any kind of master plan, he’s fooling everyone—it’s more like the plan is to not have one and to make up the whole thing as he goes. From vague interviews to replacing the track “Mickey Mouse” with something he wrote yesterday because he’s being sued over the song title, he’s doing what comes natural.

The best defense against the backlash is to record another catchy melodic album about the mundane and to perform live like it’s his last show. Playing with Stephen Pope and Billy Hayes, Jay Reatard’s old bandmates, helps to take the focus off Williams, who reluctantly plays frontman. These guys have been through everything and are good stage distractions in between tunings, passing bottles of whiskey to the sold-out Bowery Ballroom audience, saying, “That last song is about killing yourself” and “in Sweden they asked us not to look so high onstage.”

After an extensive set Williams said, “Here’s how it’s going to work: We can finish this song and then leave and wait for you to clap and come back or we can just keep playing songs and then leave.” He leaned back and fell into the pit, playing straight through the surf. It was an unrehearsed moment that felt authentic, and that’s been the case so far with his albums and live show. He’s not out to con the audience or to play to the lowest denominator, he just happens to be having a great time doing it. —Jason Dean

(Wavves plays Music Hall of Williamsburg on 9/21.)

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The South Rises in Williamsburg

Monday, August 2nd, 2010

Appalachian Voices/Preservation Hall Jazz Band - Music Hall - July 30, 2010

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Appalachian Voices with the Preservation Hall Jazz Band

Two ends of the roots-music sonic spectrum were on display during Friday’s show at Music Hall of Williamsburg, as New Orleans’ Preservation Hall Jazz Band and Kentucky’s Appalachian Voices teamed up to bring a diverse night of Southern sounds to the Brooklyn landscape. Approaching its sixth decade of exploring the traditional jazz of the Crescent City, Preservation Hall opened with a rollicking 35-minute set covering such vintage classics as “Short Dressed Gal” and “Sweet Substitute.”

The Appalachian Voices singers joined the fray with Jim James grinding on a dirty “Blue Yodel No. 9” and Daniel Martin Moore guiding a gentle “Between the Devil & the Deep Blue Sea.” James closed out the collaboration by swinging a towel over his head and howling through an incendiary “St. James Infirmary,” significantly ratcheting up the intensity in the room. Inspired by the boisterous response, Preservation Hall’s Clint Maedgen immediately led the band through a more tribal and equally intense reprise to close out the set before an obviously excited crowd.

Headliner Appalachian Voices reversed the vibe with a subdued and poignant antidote to the opener’s raucous set. With James thanking the audience for remaining quiet and focusing on the evening’s messages about the beauty of Appalachia and the dangers of mountaintop removal, the quartet combined elements of folk, blues, bluegrass and jazz throughout their nearly two-hour performance. While the My Morning Jacket canon would be unavoidable, including a particularly explosive “Smokin’ from Shootin’,” rock star James often faced upstage and yielded the attention to his less-famous-but-nonetheless-worthy coconspirators, Moore and cellist Ben Sollee, the latter delighting with spiraling and occasionally funky cello solos that were met with loud ovations.

Singing of the Appalachian people, pathos abounded in stirring songs, like “Try,” “My Wealth Comes to Me,” and Lead Belly’s “Sylvie,” in which James thrillingly channeled Roy Orbison. The encore featured a droning, thunderous combination of both bands on “Dear Companion” and a driving cover of “Save the Last Dance for Me,” which sent the enthused assembly buoyantly bounding off into the Brooklyn night. —Brian Ferdman

Photo © Matúš Bence | http://idijot.tumblr.com

(My Morning Jacket plays Terminal 5 five times in October. Tickets remain available for the 10/18 and 10/19 shows.)

The Black Keys Sell Out

Thursday, July 29th, 2010

The Black Keys - Terminal 5 - July 28, 2010

The Black Keys - Terminal 5 - July 28, 2010
Historically any musical innovation has come from a hybridization of styles. In the case of the Black Keys, they’ve taken their love of the bare-bones sound of drums and an electric guitar and traced its origins all the way back to the Delta blues, then combined it with a variety of influences like Link Wray and Wu-Tang among others, eventually collaborating with Mos Def and Q-Tip on the rap-rock album Blakroc. Longtime friends since high school, guitarist Dan Auerbach and drummer Patrick Carney didn’t necessarily set out to pioneer a unique sound. They took elements from the music they grew up with and added tried-and-true classic-rock screaming distortion.

The Black Keys played three sold-out show in two days, and they headlined Terminal 5 last night, having just left Central Park’s SummerStage a few hours before, not that it showed in their performance. The stage show was as stripped down as the duo—although they played their new material as a foursome, adding keys and bass to the mix—no lasers or elaborate lights, just a huge drum kit stage right, a stack of amps behind Auerbach and a huge banner of two black hands clasped together inside a tire, a reference to their recent album, Brothers, and even Auerbach and Carney’s personal connection, at the back of the stage.

The Keys played their Zeppelin-referenced blues with big crunchy distortion guitar that became another voice alongside Auerbach’s eerie Hendrix-like vocals, which are as equally at home delivering hushed falsetto on “The Lengths” as getting the Led out on “10 A.M. Automatic.” Hardly pausing between songs, they seemed to be taking their Ohio Midwestern work ethic to heart onstage, delivering on the promise of two friends getting to do what they sincerely love: Brothers in riff-heavy blues rock. —Jason Dean

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

The National Celebrates Brooklyn

Wednesday, July 28th, 2010

The National - Prospect Park Bandshell - July 27, 2010

The National - Prospect Park Bandshell - July 27, 2010
The experience of a live concert is reducible to a limited number of forms. And of those possibilities, bands usually fulfill your expectations of how they will perform and sound. For example, jam bands display virtuosic creativity while pop stars preen and shine for their adoring audience. This isn’t to say that performances don’t vary from night to night, but as the adage goes: You get what you pay for. The exception to this rule is when a band reproduces an album’s sound, but the effect of seeing them live still brings new depth to your understanding. Such is the case with the National. From lead singer Matt Berninger’s bustling baritone to Aaron and Bryce Dessner’s guitar hooks, the National swallow you whole.

On Tuesday night at the Prospect Park Bandshell, the Brooklyn-by-way-of-Ohio natives brought their talents to support free shows as a part of Celebrate Brooklyn! Fellow heralded indie-rock stars Beach House opened with a serene set filled with selections from their 2010 release, Teen Dream. Though lead lady Victoria Legrand joked, “Thank you for standing there and watching us play music,” it’s unclear what other reactions their midtempo, introspective tunes could elicit.

By contrast, the National played through a catalog shifting from the anthemic, like with “Squalor Victoria” and “Mistaken for Strangers,” to the spectral “Conversation 16” and “Anyone’s Ghost.” The group’s effectiveness is apparent in the way they balance their literal no-frills presentation with focus and determination. Silhouetted behind a large black drape, the men of the National looked and sounded like they take their music seriously. Thankfully this approach deeply rewards the band and the audience. —Jared Levy

Photos courtesy of Greg Aiello | www.ga-photos.com

The Flaming Lips Light Up SummerStage

Tuesday, July 27th, 2010

The Flaming Lips - SummerStage - July 26, 2010

The Flaming Lips - SummerStage - July 26, 2010
Earlier this year Wayne Coyne, frontman and face of the Flaming Lips, turned 49. For lesser musicians and performers, the late 40s mark artistic decline and looming retirement. However, for Coyne, aging is simply an opportunity to express bold new ideas, bolstered by the credibility of psychedelic rock’s premier band. Last year the Flaming Lips released Embryonic, a double album sprawling with bizarre imagery and extended psychedelic meditations. While the album fit comfortably in the band’s sizable discography, spanning 12 studio albums, it also came as a surprise. Embryonic, ironically, finds the Flaming Lips pushing forward rather than retreating into the comforts of their definitive style. Similarly, on a tepid Monday night at Central Park SummerStage, Coyne and the rest of the band displayed their boundless energy, presenting a live show unlike any other current group.

The entire performance unraveled as a life-affirming experience with “songs about optimistic ways of life.” This mantra began with Coyne descending into the crowd in a giant bubble. OK, maybe that wasn’t original for the Flaming Lips. However, over the course of their two-hour set spanning the group’s choice tracks, Coyne brought out new tricks such as a light-triggered gong, an audience sing-along for Embryonic’s “I Can Be a Frog” and a music visualization that would make iTunes jealous. Additionally, long-time fans gained their rewards from Transmissions from the Satellite Heart’s hit “She Don’t Use Jelly,” while more recent admirers got to sing along with “Do You Realize??” and the politically charged “The Yeah Yeah Yeah Song.” So, though Coyne and the rest of the Flaming Lips are quickly aging toward AARP membership, their penchant for engaging live shows progresses and thrives. —Jared Levy

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

A Smashing Beginning to SPIN25

Tuesday, July 27th, 2010

Smashing Pumpkins - Terminal 5 - July 26, 2010

Smashing Pumpkins - Terminal 5 - July 26, 2010
Beginning a weeklong celebration of the anniversary of a premier music magazine is no easy feat. Thankfully for those in attendance at Terminal 5 last night, the Smashing Pumpkins were up to the task. The first in a week of top-flight shows celebrating the 25th anniversary of SPIN magazine went off with a bang as Billy Corgan and his gang roared through a two-hour set.

While he at times cracked jokes with the audience (saying, “Here’s a song you might know,” before playing “Today”), Corgan was mostly business—deafening, cackling business to be precise. He and guitarist Jeff Schroeder (labeled “the Shredder” by Corgan) matched solos all night, performing what was essentially an extended and hellish version of “Dueling Banjos.” The Pumpkins wasted no time getting the hits out there, covering crowd favorite “Ava Adore” and the monstrous “Bullet with Butterfly Wings” fairly early in the show.

Before starting the ear candy that was “Cherub Rock,” Corgan said, “The concert ends when you say so,” met by screams from all three floors of the sold-out venue. He must have figured the audience would want the concert to end with another hit, for a half hour later the band closed the set with its biggest, “Tonight, Tonight.” A two-song encore followed, with Corgan challenging Schroeder for “the Shredder” title as he stretched and squealed his guitar to its highest register during a nearly 10-minute version of “Gossamer.” And then as if by design, the clock struck midnight and the Pumpkins left the stage. —Sean O’Kane

Photos courtesy of Andy Keilen | spartanmarchingband.smugmug.com/Music

© 2010