Tag Archives: Aaron Stein

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An Evening with David Rawlings (and Friends) at Brooklyn Steel

December 1st, 2017

When the book is written on the all-time great musical couples, the chapter on David Rawlings and Gillian Welch (or is that Gillian Welch and David Rawlings?) will be one to dog-ear and go back to again and again. In fact, the first couple of Americana discovered they had enough great folk in them that putting it out just as Gillian Welch wasn’t enough, and so Dave Rawlings Machine was born, with the first release (stream it below) back in 2009. Now on his third album, Poor David’s Almanack (stream it below), Rawlings (above, performing “Cumberland Gap” live for KMCP FM) has dropped the Machine from his moniker but has actually grown a full band, featuring some of the genre’s truly best musicians sounding as good as ever. Rawlings’s superlative guitar playing and timeless songs are backed by Willie Watson, Brittany Haas, Paul Kowert and, of course, Welch. The group is back on tour with a stop at Brooklyn Steel on Tuesday, a chance to stomp your feet, hoot and holler, and see a pair of all-timers do their thing. —A. Stein | @Neddyo

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The Barr Brothers Delight Sold-Out Sinclair with New Music

November 30th, 2017

The Barr Brothers – The Sinclair – November 29, 2017


(The Barr Brothers play Music Hall of Williamsburg on Friday night.)
 
The Barr brothers are a pair of siblings, of course—guitarist Brad Barr and drummer Andrew Barr—but the Barr Brothers is also a band, a fabulously shape-shifting one that operates in a unique middle ground made possible only by the combination of the unique talents in the group. The band has a new album out, The Queens of the Breakers, and their supporting tour brought them to a sold-out, mid-week show at The Sinclair in Cambridge, Mass., the Boston area being a sort of midway point between the Barrs’ hometown of Providence, R.I., and their current base in Montreal. Before they even took the stage, the packed room already warmly resonated with the sight of the instruments onstage: so many strings, a more-than-can-count-on-one-hand amount of guitars and basses, all bracketed by the looming harp on one side and a pedal steel guitar on the other.

The brothers and band took the stage to a hearty cheer and immediately opened with the new record’s title track, finding a quick ease with one another and the crowd. That mid-range sound was established right away, depending on the angle you took, it was folk or rock or even jazz. Brad Barr opened on an acoustic guitar, accentuated by the harp and steel on either side and then switched to a 12-string on the following “Hideous Glorious,” the ensuing coda of “Part 2” giving Sarah Pagé a chance to indulge the audience with twinkles from her harp. But it wasn’t just the guitars that changed for every song, each tune featured a brand-new combination of instruments, the music morphing and evolving in significantly new directions each time. At some point I finally lost count of the different instruments, but there were a dobro and banjo and at least one I-don’t-know-what-that’s-called instrument.

Ukulele, harp, pedal steel and upright bass created a dreamy soundscape atop hypnotic rhythms on “Look Before It Changes,” like some sort of jazz from the future. Another highlight was “Maybe Someday,” the bass and drums revealing a slinky groove that seemed to extend infinitely in all directions. Later Brad Barr and Pagé played an extended two-person intro, combining to sound more like sitar and tabla than slide guitar and harp. Playing pretty much all of the new album through the night, the Barr Brothers managed to work in some older material, punctuated by the crowd favorite “Beggar in the Morning” in the encore. As they did a few times during the set, the group appropriately sang it from the middle of the stage, brothers and band around a single microphone in their happy medium. —A. Stein | @Neddyo

 

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Don’t Miss Angel Olsen Live at Town Hall on Wednesday Night

November 27th, 2017

Angel Olsen (above, performing “Give It Up” live on Conan) is a two-faced musician … in the best way possible. Her music is both emotionally plainspoken and honest, something to listen to and contemplate, and her music is gritty and rocking and groovy, something to move your body to. Appropriately, she now has two relatively new records out, 2016’s proper studio album, the highly acclaimed My Woman (stream it below), and the recently released Phases (stream it below), an assembly of B-sides and demos. While the latter is a stripped-down living-room affair often featuring little more than Olsen’s voice and the former a fully realized, full-band vision, they both manage to show off her two sides. Luckily Olsen’s touring band is adept at both featuring her depth, allowing the singer-songwriter space when needed and then digging in to get the crowd moving. Luckier still, she will be showcasing her two faces in two different boroughs in two different rooms in this city, with two nights—Wednesday and Thursday (which is already sold out)—at Town Hall and then Friday night at Brooklyn Steel (which is also already sold out). While each venue might naturally better lend itself to one side of Olsen’s talents or the other, she’s sure to show off all she’s got each night. San Francisco quartet Heron Oblivion open each night. —A. Stein | @Neddyo

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Ron Gallo and Naked Giants Blur Lines at Rough Trade NYC

November 20th, 2017

Ron Gallo – Rough Trade NYC – November 19, 2017


Sometimes it’s best to start with the end and work your way back to the beginning. Such is the case with the show at Rough Trade NYC last night, which closed in burn-the-house-down fashion, Ron Gallo and his band joined by opening band Naked Giants, two power trios banging around onstage, at least half of the six musicians having removed their shirts, the sweat a couple of hours of no-garage-can-contain-this rock and rolling. The Naked Giants guys had already been onstage for three songs to close out the set, at one point joined by Dr. Dog’s Eric Slick as well, playing both sides of their split 7″ single and culminating in a frenzied cover of the Beatles’ “Helter Skelter.” Apparently they’ve been performing it together all along their tour, but when they played it in Brooklyn last night, it not only was an appropriate show closer, but also unwittingly, and perhaps unintentionally ironically, marked the passing of Charles Manson.

The packed house had been bouncing and percolating to both bands all night, but by this point, the energy from front to back was combustible, bodies slamming into one another and carelessly bounding up and down. Whatever the opposite of “quiet Sunday evening at home” is, this was it. The preceding set from Gallo and his trio had been an exercise in blurred boundaries, playing songs from their appropriately titled Heavy Meta record. The demarcation between headliner and opener seemed fluid, at one point midway through, after singing a song apparently about two headlining bands, the Naked Giants guys came on and swapped instruments, allowing Gallo and his group to hop into the audience to rock out with the crowd. Indeed the fourth wall between the performers and audience was as equally dynamic throughout, Gallo not only coming down off the stage on multiple occasions, but also chatting and bantering with folks in the audience, and the musicians mimicking the propulsive dancing of the crowd. At one point Gallo was able to merge all of the audience requests into one surreal medley, blowing into his trumpet and then threading together a few seconds of an unintelligible “Free Bird” with “Fight for Your Right to Party” and, of all things, “One of Us.”

The boundary between rock and roll show and performance art also disappeared, stretching back to the opening moments of Gallo’s set, when he played a little trumpet and then read a prepared introduction statement from a piece of paper seemingly channeling Christopher Walken. At other points, Gallo played his guitar with and on a skateboard. But for all the shenanigans, his set was a rage of rock and roll, channeling the great trios like the Jimi Hendrix Experience and Cream along the way. With Joe Bisirri on bass and Dylan Sevey on drums, the three-piece was greater than the sum of their parts, breathing fire into the material from the beginning. And as we continue to work our way backward through the night, we once again find Seattle’s Naked Giants. Seen from the end, their set was a bit of foreshadowing—their intense and thoughtful guitar-bass-drum rock a perfect tee up for the night. Their songs seemed to have a mind of their own, losing themselves in the middle to stray here or there in is-this-another-song fashion before hitting the head and drawing to a close. —A. Stein | @Neddyo

Photos courtesy of Silvia Saponaro | www.saponarophotography.com

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Blitzen Trapper Return to Play Music Hall of Williamsburg Thursday

November 8th, 2017

And so we find ourselves in November, halfway between the cold canned beers of summer and the sweater-and-overcoat chill of winter, a perfect time to listen to Blitzen Trapper. The Portland, Ore., band’s music fits right into this seasonal space with thoughtful storytelling and a progressive country-folk-funk sound. Right on cue, they have just released their ninth studio album, Wild and Reckless (stream it below), and will be headlining Music Hall of Williamsburg on Thursday night (with Nashville, Tenn., singer-songwriter Lilly Hiatt opening). After some dabbles with a more experimental sound, Blitzen Trapper (above, performing “No Man’s Land” for KINK FM) are in a mature and confident space on the new record, concentrating on the songs themselves. The material will only bolster their already formidable live repertoire that, along with its subtleties and idiosyncrasies, totally rocks in concert, in November or any other time of year. —A. Stein | @Neddyo

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A Willie Watson and Colter Wall Sing-Along at Rough Trade NYC

October 26th, 2017

Willie Watson and Colter Hall – Rough Trade NYC – October 25, 2017


Sometimes at a concert you get a real feel for what things were like back when. Sometimes it’s because of the room: Walk into Carnegie Hall or Village Vanguard and you are transported back through decades of New York City live-music history. Other times it’s the performers themselves who seem to transport you back to a past heyday. Last night at Rough Trade NYC featured two such performers who transported the crowd back in time, evoking a country and folk music of another era as if it were brand-new today.

Colter Wall is a Canadian singer from Saskatchewan who evokes a country music of a time gone by. He began his set solo, with just enough croak in his vintage voice and acoustic guitar, singing, “If I’m being truthful, I only live at night” and covering Woody Guthrie’s “Do Re Mi” like he’d written it on his way from Canada. He was joined by a band—mandolin, dobro, bass—and continued to mix old-school covers by Ramblin’ Jack Elliott and Hank Williams with originals from his self-titled debut that evoked the same spirit with a little updating along the way. A cover of Blaze Foley’s “Oval Room,” perfectly fit into the set and had the crowd whooping and hollering. Audiences will clap or sing along and this one did that aplenty, but the stomp along is a bit rarer and felt natural at several points during Wall’s performance—you could imagine yourself back when in a barn somewhere hearing murder ballads like his “Kate McCannon” and stomping along.

Willie Watson has a voice and a love for folk music and, let’s face it, a name that makes it easy to imagine sitting around a campfire or revival tent hearing gospel numbers and old-timey songs mixed with storytelling and off-center humor. He opened with “Take This Hammer,” his voice infused with a slight warble as he stretched out syllables, letting them fill the room. “If you know this one, sing along” seemed to be implied from the start of his set, and the crowd joined in as he worked his way through a musical time warp. Watson has been playing and touring and recording these old folk songs for years—his new album is simply and aptly titled Folk Singer Vol. 2—and he sings them possessed of their original spirit. Tunes like “Samson and Delilah,” “Gallows Pole” and “Midnight Special” in their original form before they were turned into modern-day rock songs were stripped to their original bare essence in Watson’s hands. Switching between guitar and banjo (giving the audience what he referred to as a proper dose of “vitamin B”), the set was both raucous and poignant. Like any good folk show, there were sing-alongs, like “Stewball,” and murder ballads, like “Frankie and Johnny,” and, of course, songs about the feats of John Henry. Through them all, Watson’s love for the music and performing it shined through, taking the audience to way back when for just one night. —A. Stein | @Neddyo

(Tonight’s Willie Watson and Colter Hall show at Mercury Lounge is sold out.)       

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Elvis Perkins Celebrates an Album Milestone at Rough Trade NYC

October 23rd, 2017

Elvis Perkins – Rough Trade NYC – October 20, 2017


Family reunions can be planned or impromptu, times of joy and nostalgia or pain and remembrance, barbecues or funerals. Elvis Perkins’ music has always been a mix of melancholy and jubilance, and so it was perfect for a “reunion” on Friday night in Brooklyn at Rough Trade NYC. The appearance was one of two anniversary shows (the other in L.A.) celebrating the 10th anniversary of Perkins’ breakout album, Ash Wednesday. For the show he assembled most of the original musicians and more, musical cousins and brothers and sisters joining together once again to make music and share memories and maybe make some new ones as well.

Like the album—and, really, like most gatherings of old friends—the show began with its most powerful, emotional moment. “While You Were Sleeping” started, as it always has, with Perkins solo, singing, “Time flew, the phone rang/ There was a silence when the kitchen sang/ Its songs competed like kids for space/ We stared for hours in our maker’s face.” One by one the musicians came onstage and began playing, bass and drums and backup singers and then horns and a four-piece strings section, the family together again and a wave of emotion swelling inside the room. To me, the album was always one of the more poignant responses to 9/11, but its happiness-from-sadness energy resonated just as strongly on Friday. The full complement of strings seemed to generate much of the emotion, at times eerie or chilling or sobbing.

With the massive band and the range of feelings coming from the stage, the centerpiece was still Perkins’ songs—lyrics as poetic and meaningful as ever—like “It’s Only Me”: “The white noise falls away to reveal the perfect day/ Where roses bloomed out of thin air and music rose from down the buried stairs.” After closing with a penetrating version of “Good Friday,” Perkins introducing the full band, goodbyes imminent, they added an encore of “Doomsday” from the Elvis Perkins in Dearland album, an unplanned moment, perhaps not everyone knowing the song but happy to linger and enjoy one another’s company for just a bit longer. Like most reunions, the event felt all the more significant by the uncertainty of when we all might meet again. —A. Stein | @Neddyo

 

 

 

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A Margo Price Storm Blows Through Rough Trade NYC on Thursday

October 20th, 2017

Margo Price – Rough Trade NYC – October 19, 2017


Predicting the next big music star is just about as easy as predicting the weather. Even with a lifetime of knowledge and the best instruments, you still get it wrong just as often as you get it right. But sometimes the barometer, thermometer, hygrometer and the Doppler radar all point to one obvious conclusion: It’s gonna rain. And for the crowd lucky enough to make it in for her All American Made album-release show at Rough Trade NYC last night, there was no doubt about the forecast, that’s Margo Price coming over the plain, a drought-killing downpour of talent and charm. Opening with “Nowhere Fast,” she perhaps subtly, perhaps subconsciously, was dressed as the Woman in Black, a modern-day outlaw country, with a more-than-meets-the-eye mix of soul, gospel, blues and funk to go along with the band’s considerable honky-tonk roots.

Price led her secret-weapons-grade band through the new album, the track order shuffled expertly to maximize the live-show experience. Pedal-steel-infused boot stompers like “Weakness” mixed in with gorgeous ballads. “Learning to Lose” hushed the hepped up crowd to near silence with Price’s voice filling the room, complemented by pretty guitar and pedal steel solos. She sneaked in the caveat that it was the first time playing a lot of the material live, but there was little sign of tentativeness or rust, quite the contrary. The songs showed off a bit of depth, both in sound—“Cocaine Cowboys” was as much Little Feat as Willie Nelson and “All American Made” was as much in the tradition of Neil Young as Loretta Lynn—and subject matter, songs about love lost and found replaced by deep storytelling with some social commentary proudly thrown in.

The band picked up steam and Price’s voice gained some extra torrential-rain power as they built the set to a head, finishing the album material with strong versions of “Loner” and the title track and then offering some crowd-pleasers to the already-quite-pleased sold-out crowd in “Tennessee Song” and “Paper Cowboy.” Here the band really flexed their muscles, drums and bass providing the thunder and lightning in a set-closing maelstrom, Price leaving the stage to applause while they rocked out for several minutes, just in case you hadn’t already appreciated their effort throughout the performance. That storm had passed as quickly as it had come, but for Margo Price, it’s easy to predict that it’s still just getting going. —A. Stein | @Neddyo

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Widowspeak Come Home to Rough Trade NYC on Friday Night

October 10th, 2017

Some bands grab you from the get-go and some sneak up on you, a slow-moving rainstorm or a creeping sadness. Widowspeak (above, performing “Right On” for Audtiotree Live) have always been in the latter category, their music a narcotic blend of indie and dream and a somewhat surprising dose of country twang. Mollie Hamilton and Robert Earl Thomas have a growing catalog that, without warning, has filled out into an impressive collection, inhabiting its own sonic space, equal parts mood mover and rock and roll. Their new album, Expect the Best (stream it below), is the sound fully realized, the group operating in the studio for the first time with their touring quartet. In the live setting, Widowspeak’s slow grab is even more powerful, the atmospheric melancholy unleashed into something quite rocking. They play Rough Trade NYC this Friday for a hometown appearnce that, despite the warning, still has a good chance of sneaking up on you. Chicago trio Clearance and Brooklyn four-piece Air Waves open the show. —A. Stein | @Neddyo

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Broken Social Scene to the Rescue at Brooklyn Steel on Wednesday

October 5th, 2017

Broken Social Scene – Brooklyn Steel – October 4, 2017

In “getting the band back together,” the siblings in The Blues Brothers are compelled to get all of the original members, no less will do, in order to rekindle the old magic. I imagine Kevin Drew and Brendan Canning going through similar adventures every few years as they search Toronto to round up Andrew Whiteman, Charles Spearin, Justin Peroff and the rest of Broken Social Scene. In the movie, the reunion is to save an orphanage, and while now there’s no orphanage to save, per se, it does lately feel like our collective national psyche has been orphaned—and who better to save it than these guys? Or, as Drew put it midway through their sold-out show at Brooklyn Steel last night: “When your country gets fucked up, Broken Social Scene shows up … that’s what we do.” And show up they did, delivering a powerful, jubilant, cathartic set, the band, indeed back together.

The healing vibes were flowing from the beginning with a punchy opening one-two of “KC Accidental” and “7/4 Shoreline,” guitars layered upon guitars and then, at just the right moment, a blast of horns materializing to provide the exclamatory oomph. “We’re not a rock band, we’re a family!” proclaimed Drew later in the night, putting to words the unique, sibling-love energy coming from the stage. Even when squeezing two, three and sometimes four guitar parts into their songs, the sound was big and loving without getting too messy. A mid-set pairing of “Stars and Sons” and “World Sick” showed off the ensemble’s range: joyous, raucous bounce followed by more subtle, heartfelt rocking, the latter lingering with beautiful cascades of guitar in both the intro and outro.

While it’s been a few years since Broken Social Scene’s last proper tour—and the band and crowd were both filled with nostalgia last night—plenty of new material still seamlessly fit into the set. “Skyline,” dedicated to Tom Petty, felt especially purposeful and charged, quietly building to another horn-led climax. The new record is titled Hug of Thunder, and that’s exactly what the show felt like, an emotional release in voluminous guitars, bass, drums and more. During the encore, the hugs became literal, Drew dropping down into the crowd to sing “Lover’s Spit” and giving a genuine embrace to as many people as he could along the way as he sang, sincerely, if not reassuringly, “Making it work takes a little time.” —A. Stein | @Neddyo

Photos courtesy of Gregg Greenwood | gregggreenwood.com

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El Ten Eleven and Emile Mosseri Move Rough Trade NYC Audience

August 16th, 2017

El Ten Eleven Featuring Emile Mosseri – Rough Trade NYC – August 15, 2017


El Ten Eleven are an instrumental band in the truest sense of the word. The two—Kristian Dunn on basses and guitar, Tim Fogarty on drums—bend their instruments to their will, pushing them to their limits with electronics and other implements. That’s what they did for the first half of their show at Rough Trade NYC lst night. Playing a range of fan favorites from across their 10-plus years of releases as well as some too-new-to-have-names songs, the duo was in fine form. Gone were the elaborate lights and spectacle from their last area performance. This was just Dunn and Fogarty creating emotional soundscapes in their complicated calculus of compositions. Dunn seemed to play both coming and going, using his double-neck bass-guitar to fill the room with an array of sound before moving to a fretless bass for a section of what he referred to as “dance party” selections. The set list and the grooves kept the audience happy and moving, none more so than “My Only Swerving.”

If you had been at that last show, you might also remember when Emile Mosseri came out to sing a song with the pair. That was a small preview for the second part of Tuesday’s set, which featured Mosseri prominently, Dunn and Fogarty moving to backing-band status as the now-trio played songs from a forthcoming album. Behind Mosseri’s falsetto, the group became a different thing, creating a subtler, textured soundscape. After one or two songs, Mosseri grabbed an acoustic guitar and three members of the opening electro-rock band Pete International Airport joined on backup vocals on songs like “I’m Right Here.” What had once been a larger-than-life duo was now a large-ish band, but the sound actually became lighter. For their final song, Dunn moved back to the double-neck and introduced some unobtrusive loops again, Fogarty slightly bringing back the tempo to a typical El Ten Eleven speed, the music meeting midway between the first and second halves of the show and perhaps hinting at the potential of things to come. —A. Stein | @Neddyo

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Woods Bring Feel-Good Music Home to The Bowery Ballroom

July 13th, 2017

Plenty of artists have, for better or worse, found inspiration in today’s headlines, much of the resulting music reflecting a dark view on the news of the day. When Woods felt compelled to enter the studio to capture the current mood, the resulting songs were much more optimistic in tone. The mini-album, Love Is Love (stream it below), recorded and released earlier this year, conveys its message in its title track. Taking their evolved sound from last year’s City Sun Eater in the River of Light (stream it below) even further, the new record is awash in pastoral psych-folk amidst upbeat jazz-funk horn fills. Woods (above, performing “Creature Comfort” in studio for KEXP FM) bring the new material and a hefty back catalog of inspired songwriting and spinout jams—and maybe some catharsis—back to The Bowery Ballroom for a Saturday night homecoming. It’ll be a family affair, with John Andrews and the Yawns (plus Cut Worms) opening. —A. Stein | @Neddyo

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Umphrey’s McGee to Light Up SummerStage on Friday Night

July 5th, 2017

“Leave it to an act who named their 1998 debut Greatest Hits, Vol. 3 to create this crazy quilt, innovative and unique mash-up of disparate songs, played live,” said American Songwriter of last year’s Zonkey (stream it below). “Taking a concept initially conceived during Umphrey’s McGee’s Halloween shows to the studio, the sextet displays their wildly diverse influences and inspirations by grabbing parts of two, three and sometimes four tunes, cutting and pasting them together, and performing the result with no overdubs, without a net, in the studio.” Summer’s here and the time is right for dancing in the park. The stalwart jamband plays a scintillating music that seeks out wide-open spaces and fills them with long-form improvisation. They’ll find plenty of room to jam in the middle of Central Park when they play SummerStage on Friday night. For the diehards there will sure to be set-list surprises and look-ma-no-hands acrobatics for next-day social media deconstructing. For the curious and uninitiated, Umphrey’s will be sure to impress with their two-guitar, part-heavy-metal/part jazz-prog-rock fusion. Up-and-comer jammers Aqueous will be grooving the park early, so bring your dancing shoes and be ready to rock. —A. Stein | @Neddyo

 

 

 

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A Double Shot of Portugal. The Man at Terminal 5 This Week

June 5th, 2017

Next week, Portugal. The ManJohn Gourley (guitar and vocals), Zachary Carothers (bass and vocals), Kyle O’Quin (guitar, keys and vocals), Eric Howk (guitar) and Jason Sechrist (drums)—will release their newest album, Woodstock, which features, among others, Richie Havens, Son Little and Fargo’s Mary Elizabeth Winstead. It’s the band’s eighth long-player, but their first in more than four years. And while four years might not feel like too long, in Portugal. The Man years, it’s close to a geological epoch. With the lead single, “Feel It Still” (above, performed live on KEXP FM), already making waves—its soulful psych-pop working it to the top of the alt-rock charts and its politically charged video drawing the ire of certain media types—the anticipation for Woodstock is high. New York City will get an extra-special preview of songs new and old when Portugal. The Man stop by for two appearances at Terminal 5 this week, tomorrow and Wednesday. (L.A. duo Electric Guest and the Bronx’s own Kemba open each night.) PTM shows are always don’t-miss affairs, combining sing-along hooks, dense, Pink Floyd-ian space-outs and usually a surprise or two. So do yourself a favor: Don’t miss. —A. Stein | @Neddyo

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Kevin Morby Sells Out The Bowery Ballroom Ahead of New Album

May 25th, 2017

Kevin Morby – The Bowery Ballroom – May 24, 2017


Kevin Morby’s upcoming album, City Music, is an ode to this country’s metropolises, especially New York City. Fulfilling a “dream come true,” he played a packed Bowery Ballroom on Wednesday night, featuring many songs from the new record and filling them with the tangled, contradictory energy of the city. Morby opened with the title track, singing, “Oh that city music, oh that city sound,” two guitars jostling like taxis down an avenue, the music setting the audience in that liminal space between sway and dance before finally kicking into a double-time, double-energy finish that pushed things over the edge. The rest of the show seemed to teeter like this, Morby and the band itself like a city between night and day, romance and stoicism, dreams and reality.

Morby got his start in Woods and it felt appropriate that his band was made up of musicians who either came from other groups or are on their way to solo careers, including Nick Kinsey (Kinsey) on drums, Meg Duffy (Hand Habits) on lead guitar and Cyrus Gengras on bass. Together they were formidable, as equally comfortable creating hypnotic soundscapes as they were unleashing full-on guitar jams. The highlights featured all facets and more, like “Destroyer,” “Harlem River” and “I Have Been to the Mountain,” each opening into a variety of surprises, funky or thoughtful or full-on psychedelic. As inspired as the band was, Morby’s songs stood on their own and “Beautiful Strangers,” played solo “for Manchester,” resonated with every lyric.

I couldn’t have been the only one in the sold-out room who picked up on shades of Bob Dylan and Lou Reed in Morby’s songwriting and voice as he sang songs about New York City, like “Parade” and the album-closing “Downtown’s Lights,” in New York City. So, it was not a surprise, but no less satisfying when he covered a song by each, closing the set solo on a Dylan-birthday tribute of “Tonight I’ll Be Staying Here with You” and finishing the three-song encore with a cover of Velvet Underground’s “Rock and Roll.” For the latter, Morby brought out Sam Cohen on third guitar, creating an appropriately city-sized noise to end the night. —A. Stein | @Neddyo