The Bowery Presents

Posts Tagged ‘the So So Glos’

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See Those Darlins Tomorrow Night at The Bowery Ballroom

Thursday, February 4th, 2010


Those Darlins write songs that effectively mix country, pop, punk and rock. The trio—Kelley Darlin (bass), Jessi Darlin (guitar) and Nikki Darlin (baritone ukulele)—hails from Murfreesboro, Tenn., but they record their music here in NYC. So in a way, their show tomorrow night at The Bowery Ballroom (with the So So Glos and Pine Hill Haints opening) is a sort of homecoming. While it’s true that Those Darlins (above, playing “Wild One”) are a band comprised entirely of ladies, they’d rather be known for their rowdy performances (“There are fucking tons of dude bands out there and they’re not described as an all-male band,” says Nikki), which have charmed audiences across the country and have garnered them a fair amount of positive press. Find out for yourself why in person tomorrow night.

The House List is giving away two tickets to tomorrow’s show. Want to go? Then just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Those Darlins, 2/5) and a brief message telling us what you’d be doing if you weren’t at this show. The winner will be notified on Friday.

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Spend New Year’s Eve with The Bowery Presents

Wednesday, December 30th, 2009

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The tough thing about New Year’s Eve is that it’s amateur night. But that’s OK because you can avoid all the drama by spending the night rocking out with us. Patti Smith and Her Band at The Bowery Ballroom and Soulive at Music Hall of Williamsburg are already sold out, but no worries ’cause we’ve got plenty of other options for you to close out 2009 in style.

If you like to shake your ass—and let’s face it, who doesn’t?—then you should check out Detroit Cobras (with the A-Bones and the Underthings opening) at Mercury Lounge on Thursday. They bring a mix of garage-rock grease and early soul classics (think Otis Redding and Irma Thomas) plus other R&B covers you’ve probably never even heard. Expect soulful singing, some fierce guitar and a whole lot of fun.

Have you been to Brooklyn Bowl yet? It’s pretty badass. They’ve got great food and local beers to go alongside 16 high-tech bowling lanes. And their sound system is fantastic, which works out great since Q-Tip (who also happens to be badass) will be spinning there. If you don’t want to be anywhere near Times Square, then do what feels right and head to Brooklyn Bowl tomorrow.

One good thing about New Year’s Eve is that places stay open later than usual, which means you definitely need some late-night music. You know this, and Titus Andronicus and their openers, the So So Glos, know it, too. After the Detroit Cobras’ show clears out, doors will open at 1:30 a.m. Titus Andronicus, whose name comes from Shakespeare and whose sound comes from Jersey, will ring in the New Year with energetic songs and a heavy dose of guitar distortion. What else are you gonna do—go to bed?

The Word is kind of like a recipe: Add John Medeski on keys to Robert Randolph on the pedal steel to the North Mississippi Allstars (Chris Chew, bass, Cody Dickinson, drums, and Luther Dickinson, guitar) and you get a tasty stew of blues, funk and gospel, plus some cool covers (like the White Stripes’ “Seven Nation Army”). Because these guys are all in their own bands, it’s been difficult for them to find enough time to play together. They put out a superb self-titled album of gospel instrumentals in 2001 and played shows to support it. But then they didn’t perform together again until around this time two years ago. And now they’re back at Terminal 5 on NYE.  “Joyful Sounds” indeed.

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Cut Off Your Hands and the So So Glos - Mercury Lounge - May 7, 2009

Friday, May 8th, 2009

Some time before 11 p.m., the lead singer of the So So Glos looked out at the audience and said, “I don’t care. But I do.” It was in regard to the people in the crowd and whether they would be clapping for an encore. It was right before the band’s last song or right before the encore they entirely deserved, but never got. It was an evening of contradictions: Untamed energy onstage and flat efforts from a nearly sold-out audience.

Cut Off Your Hands (Photo: Steve Gullick)

Cut Off Your Hands (Photo: Steve Gullick)

For example, Nick Johnson, lead singer of headliner Cut Off Your Hands, collapsed to the ground in the first four measures of their set. He proceeded to flail about like a man possessed. The band, sounding like the Futureheads who grew up listening to Morrissey records, followed in time, with the bassist and guitarist shouting their vocals into their mikes. It was only until after the third song that Johnson looked back at the soundboard and said, “We’re going to need more guitar and more drums and more crowd.” The last part was so quiet it was almost missed. But it was exactly what he meant: We are going to need more crowd. The band then launched into “Turn Cold,” arguably their second-best song.

Cut Off Your Hands have a new guitarist and a bassist who looked delicate enough to break. These were not necessarily the personalities to convert a weeknight audience. But Johnson wouldn’t quit—proceeding to kill himself on the altar of energetic. It was not entirely in vain. During the best moment of the night, he and his mates thrashed through “Happy as Can Be,” and the audience moved in time. The song’s epic, furious conclusion was finally enough to change the tenor. Still, the band left without an encore. Their frantic post-punk was worthy—those in the crowd just couldn’t decide if they cared. Thankfully, Cut Off Your Hands cared enough for everyone in the room. —Geoff Nelson

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