Tag Archives: White Denim


The Revivalists – SummerStage – August 10, 2017

August 11th, 2017

Photos courtesy of Joe Papeo | www.irocktheshot.com


An Evolved White Denim Sound at The Bowery Ballroom

April 27th, 2016

White Denim – The Bowery Ballroom – April 26, 2016

White Denim – The Bowery Ballroom – April 26, 2016
You know what they say, “The more things change the more they stay the same.” That old adage was proved true last night at The Bowery Ballroom. It was certainly true for Sam Cohen, who opened the show fronting a new self-titled band and yet still continuing his asymptotic approach to psych-pop perfection. With a thick slab of dreamy synth and McCartney bass added to his own spiral-sliced guitar, Cohen raved up songs from last year’s Cool It release. As the crowd continued to fill the room, the band filled it with a new, mutated version of Cohen’s characteristic reverberating sound on songs like “The Garden” and “Unconditional Love.” The set ended with a long, chaotic version of “Let the Mountain Come to You,” synth and guitar providing a proper headspace for the headliners.

Change is definitely nothing new for White Denim, who returned to New York City for two sold-out Bowery shows with a new lineup and a new album. And while, yes, the band has sacrificed a little finesse for a lot of muscle, the feeling in the room was that, as far as their live set is concerned, this was the same old White Denim. New material from the recently released Stiff album meshed quite literally with the old, James Petralli, Steve Terebecki and crew stitching together several songs at a time, giving the audience little chance to catch their breath, in classic White Denim fashion. The opening stretch bounced between blues strut, Beatles swirl, breakneck prog and Rhodes-disco soul with a balance of gale-force rock and roll and laid-back aw-shucks ease. Two-guitar instrumental passages glued together Petralli’s Southern-soul singing, satisfying all the left-brain/right-brain tendencies of the boogie-down crowd. Midway through, Cohen returned to the stage for “Ha Ha Ha Ha (Yeah),” off Stiff, the presence of his third guitar like that of a pistol in the first act, eventually going off in a great back and forth with Petralli. “At Night in Dreams,” off 2013’s Corsicana Lemonade, was representative of the evolved White Denim sound: jazz groove exploding into monster rock and roll in Banner-to-Hulk fashion, quite literally leaving shredded denim in their wake. As has been the case for nearly all of their NYC appearances going back to their trio days, the set was filled with long stretches of dizzying which-song-goes-where? segues and jams to the packed crowd’s delight. And if at some points—like midway through “I Start to Run,” off 2009’s Fits—it felt like things were just short of an out-of-control stampede, all the better.

After 80 minutes of this, the set finally capped off with a concise, rocked-out “Shake Shake Shake,” from their debut album, but the show was far from over. Returning to the stage with Sam Cohen (not just the guy, but the whole band), the now nine-strong ensemble treated the crowd to a perfectly arranged Prince tribute medley. Starting with “Let’s Go Crazy!” (complete with spoken intro from Cohen), they worked through portions of “Delirious” and “Controversy” with superfun WD-style segues and Petralli doing an admirable job on the vocals. Somehow the sound remained groovy, not too top heavy with all the doubled-up musicians onstage and a little jam opened up before they expertly brought it back for the closing riff of “Let’s Go Crazy,” which definitely wasn’t the same old, same old for White Denim. —A. Stein | @Neddyo

Photos courtesy of Jeremy Ross | jeremypross.com


Grow a Pair: Win Free Tickets to See White Denim on 4/25

April 19th, 2016


Supporting their seventh studio album, Stiff, White Denim’s tour brings them to New York City next week to play two shows at The Bowery Ballroom, on Monday and on Tuesday. And while they each sold out in advance, The House List is giving away two tickets to Monday’s show. Don’t have any of your own but still want to go? Try to Grow a Pair. Just fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (White Denim, 4/25) and a brief message explaining why Mondays are your favorite night to go out. Eddie Bruiser, who would happily see the Austin, Texas, four-piece any day of the week, will notify the winner by Friday. Good luck.

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Leon Bridges’ Bright Talent Continues to Rise

June 24th, 2015

Leon Bridges – The Bowery Ballroom – June 23, 2015

Leon Bridges – The Bowery Ballroom – June 23, 2015
Some voices sound timeless, and it’s no surprise folks have been clamoring about Leon Bridges’ transcendent quality. Popular comparisons to Sam Cooke abound, however the 25 year old from Fort Worth, Texas, not only channels the Motown sounds of yesteryear but also manages to give faithful nods to his predecessors. I am personally skeptical when anyone is compared to Cooke, but NPR’s Ann Powers put it best about the young talent: “Imagination is the key element that makes Bridges’ rapid ascent more than a novelty.” On the heels of the release of his long-awaited debut album, Coming Home, Bridges played the first of two sold-out New York City shows last night at The Bowery Ballroom.

The Texan’s flair was thick in the balmy air as his drummer and guitarist (White Denim’s Josh Block and Austin Jenkins, respectively, each a producer on Coming Home) plopped onstage wearing cowboy hats. After a quick introduction from background singer Brittni Jessie, Bridges began with “Better Man.” “Feeling good?” he asked the excited audience. Little commentary was provided during the set apart from the influence of family on his songs, “Twistin’ & Groovin’,” about how his grandparents met, in addition to the maternally dedicated “Lisa Sawyer.”

As Bridges alternated between hands clasped behind his back and raised above his shoulders, his mannerisms were very much on point for the ’60s era. He reminded me of other throwback artists like Raphael Saadiq and Mayer Hawthorne, who have certainly mastered showmanship, but Bridges, still young, should definitely blossom with more performances. The recent expansion of his 2015 tour will no doubt provide room to grow. Although Bridges played most of his album, he treated folks to gems that were left off, “In My Arms” and a song dedicated to a friend’s dog, “Daisy Mae,” plus an admirable cover of Lauryn Hill’s “Ex Factor.” Playing guitar, Bridges closed with a stunning, seated rendition of “River” accompanied just by Ms. Jessie providing exceptional harmonies. It was a fitting end for a very bright talent. —Sharlene Chiu

Photos courtesy of Greg Pallante | gregpallante.com


Leon Bridges Brings Raw, Timeless Soul to Mercury Lounge

February 18th, 2015

Leon Bridges – Mercury Lounge – February 17, 2015

Leon Bridges – Mercury Lounge – February 17, 2015
On the strength of just two songs—produced by White Denim guitarist Austin Jenkins and drummer Josh Block—posted to his Soundcloud, Leon Bridges announced his considerable talents to the world a few months back. Not much was known about him beyond his name and that he hailed from Fort Worth, Texas—and oh, yeah, his gospel-meets-soul vocals reminiscent of Sam Cooke’s. And from there things began to build. Bridges was signed to Columbia Records (a full-length album is due later this year), and he further made a name for himself performing alongside much bigger acts at a Nina Simone tribute at Sundance last month. This week he arrived in New York City for a pair of dates supporting Sharon Van Etten at Warsaw, plus his very own headlining show at Mercury Lounge last night, which sold out well in advance.

Bridges took the stage, stylishly dressed to match his timeless sound, modern while evoking the past, joined by Jenkins and Block, plus another guitarist, a bassist and a sax player, all dressed in suits, and two backing singers in dresses. It’s probably safe to assume that the majority of the people in the room only knew, at best, two songs. And the eight-piece kicked off the set with one of them, “Better Man.” Bridges is still relatively new to touring and performing—he didn’t even introduce the band—so he didn’t chat too much between songs, although he did say, “This next one’s dedicated to Rosario Dawson” before they launched into “Brown Skin Girl.”

The second tune everyone seemed to know, “Coming Home,” had the swaying crowd singing along. Bridges gave others their own moments to shine, especially Block, who, resembling a young Levon Helm, held together everything over the course of the 50-minute performance. The stage cleared after the 12th song, but after some hearty applause, Bridges returned on guitar backed by just the two singers for a gorgeous “River,” eliciting some of the loudest crowd response of the night and smiles across the packed room. It was the perfect musical antidote to the cold, snowy night. The singer-songwriter is still raw, he’s not even six months removed from bussing tables, but big things await Leon Bridges.
—R. Zizmor | @Hand_Dog

Photos courtesy of Gregg Greenwood | gregggreenwood.com


White Denim Are Red Hot at Music Hall of Williamsburg

September 12th, 2014

White Denim – Music Hall of Williamsburg – September 11, 2014

White Denim – Music Hall of Williamsburg – September 11, 2014
The headlines kind of write themselves: White Denim burn down Music Hall of Williamsburg or White Denim play blazing show in Brooklyn. Thankfully, despite an unplanned fire drill midway through their set, there was no literal fire in Williamsburg last night. Metaphorically, however, the headlines stand up pretty well. Playing the middle show of a three-night run at Music Hall, White Denim were hotter than hell, setting the room on fire, downright blazing and any other cliché you can think of. They began the set with a smoldering, soulful “A Place to Start,” the last track off their most recent LP, Corsicana Lemonade, and then hopped into that album’s opener, “At Night in Dreams,” a heavy-duty dose of concentrated Allmans, with James Petralli and Austin Jenkins giving a preview of what would be a night full of two-guitar prowess. “At Night” kicked off a multisong medley, the first of many such signature excursions: two or three songs with instrumental interludes, quick-stop segues and check-your-baggage jam-outs. This first one ended with a stretched-out version of “Drug,” off their 2011 breakthrough album, D.

With White Denim, each show feels like the best they’ve ever played, and the best they’ve ever played and Thursday felt no different, although years of touring in their now-steady quartet form seems to have elevated and matured their jazz-metered, free-form Southern-rock sound. Select tunes were slowed or mellowed a bit, providing room for more interesting dynamics. “River to Consider” was a good example, as its normal breakneck pace was given a more deliberate rendering that allowed for a tremendous slow-build jam. Shortly thereafter, as the band tried a similar trick with “Anvil Everything,” the fire alarm sounded and the room was cleared (I must say in a very orderly fashion). Following a 20 minute smoke-’em-if-you’ve-got-’em intermission on the sidewalk of N. 6th St., NYC’s Bravest gave the all clear and the crowd returned with a little fresh-air buzz.

The break seemed to have a filter effect on the audience, those who were there to drink and be social went off to a bar somewhere, and the remaining crowd was smaller, but a bit rowdier with room to boogie and throw fists in the air. White Denim gave plenty of reason to do both, launching a few more highlight-reel sections starting with another medley that began with a restarted “Anvil Everything” and ending with a stretched-out, swallow-everything version of “I Start to Run.” Things turned looser as the show came to its furious conclusion, large swaths of the band’s last few albums coming together in exciting combinations. The pairing of the acrobatic instrumental “At the Farm” and a beautiful, stripped-bare “Keys” was an inspired moment among many. When everyone filed out the front doors for the second time, giddy, glazed looks in their eyes, there was no doubt that White Denim had, indeed, set the building on fire. —A. Stein

Photos courtesy of Sean O’Kane | seanokanephoto.com


Five Questions with … White Denim’s James Petralli

September 10th, 2014

House List favorites White Denim (above, performing “Pretty Green” on Late Show with David Letterman) are back in town this week for three shows at Music Hall of Williamsburg. Friday’s is already sold out, but tickets still remain to see the engaging Austin, Texas, four-piece tonight and tomorrow. And last week frontman James Petralli checked in from the road to answer Five Questions.

You guys have played New York City for several years now. Are there certain places you like to revisit when you return? And do you ever feel like you could live here?
There are so many great places in NYC, and we are always so busy when we come to work that I generally hit new places every time I visit. One place I always find myself, though, is La Esquina—great food there. I’ve never done any of the popular tourist destinations or visited any of the multitudes of museums and galleries either. It is kind of a shame really. I need a few days off there someday. I could live in NYC, but I couldn’t see myself settling there. I need to have fast access to the countryside. (Preferably the Texas countryside.)

And do you notice your music being received differently in New York City?
There are so many things to do in the city each night that we feel honored to have developed a loyal audience there. People are pretty similar everywhere you go, in a good way. Except for Lufkin, Texas—terrible, villainous folks in Lufkin. Kidding.

Do you have any crutches when writing a song—are there certain words or styles you feel you lean on too much?
I am not always great at writing bridges or getting past a first chorus. I always have to force myself to write a third part and sometimes it takes long enough to lose interest in the tune entirely. I have hard drives full of single verses and choruses. I’m also probably either too oblique or too bang on in my lyrical approach. Still looking for balance there.

Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
No, but I do believe it helps. I think that actual experience can really help a performer connect with the material and thereby have a more significant impact on an audience. As far as writing goes, though, I think it behooves one to be as imaginative as possible. I’m told research and observation can be nearly as effective as actual experience.

It’s 4 a.m. and last call has come and gone. What’s your next move?
Bust out the flask and keep my eyes out for a cool place to barf. —R. Zizmor



The Best Summer Festival Starts Tomorrow Night

September 4th, 2014

While it might seem like summer ended on Labor Day, not only does it last nearly another three weeks, but also the summer festival with the best lineup kicks off tomorrow night in Boston. That’s right: Boston Calling is back, and how. On Friday night, things get started with the National, Neutral Milk Hotel and Future Islands. And then the rest of the weekend is absolutely packed with Lorde, Childish Gambino, Girl Talk, Volcano Choir, the Hold Steady, Bleachers, Sky Ferreira, S. Carey and Clifflight on Saturday. Plus Sunday brings something for everyone with Nas, the Roots, the Replacements, Spoon, the 1975, Twenty One Pilots, Lake Street Dive, the War on Drugs, White Denim, San Fermin and Gentlemen Hall. So do yourself a favor and ship up to Boston this weekend.


Boston Calling: Summer Starts Tonight

May 23rd, 2014

Summer this year officially lasts from 6/21 to 9/21, but the summer season runs differently, bracketed by two fantastic Boston Calling festivals—over Memorial Day weekend and the weekend after Labor Day. This Saturday and Sunday are already sold out, but the good news is that this year Boston Calling packs in even more music and kicks off a night earlier, with a full-on folk attack beginning tonight at 6 p.m. with Jack Johnson, Edward Sharpe & the Magnetic Zeros and Cass McCombs.

And as things begin winding down at beaches across the land, Boston Calling returns with another fantastic three days and nights of nonstop music in early September: the National, Neutral Milk Hotel and Future Islands on 9/5, Lorde, Childish Gambino, Girl Talk, Volcano Choir, the Hold Steady, Bleachers, Skey Ferreira, S. Carey and Clifflight on 9/6, and Nas, the Roots, the Replacements, Spoon, the 1975, Twenty One Pilots, Lake Street Dive, the War on Drugs, White Denim, San Fermin and Gentlemen Hall on 9/7.

(Take a look at last year’s inaugural Boston Calling, above.)



White Denim – Webster Hall – February 28, 2014

March 3rd, 2014

White Denim - Webster Hall - February 28, 2014
Searing guitars and
Shimmering bass, White Denim
Smacked me in the face
—Eddie Bruiser

Photos courtesy of Gregg Greenwood | gregggreenwood.com


White Denim Cap Off Stellar Aquarium Drunkard Showcase

October 17th, 2013

Aquarium Drunkard Showcase – Mercury Lounge – October 16, 2013

While every night on the NYC live-music scene is a potential party, a night during CMJ takes it to the next level, like an over-the-top wedding reception celebrating the marriage between the music and the fans. Like every good wedding, it’s tradition to have something old, something new, something borrowed and something blue. And last night’s Aquarium Drunkard showcase at Mercury Lounge had a healthy dose of each, running the gamut from vintage sounds, new directions and, yes, plenty of blues. It’s good to get to these shows early because you never know what gems you might find. After a tussle with traffic, I made it in time for the last few songs of Jacco Gardner’s set. Hailing from the Netherlands, he is riding the acclaim of his excellent Cabinet of Curiosities album. Gardner finished his set with “Chameleon,” proving to be a one-man wormhole (with backing band), reaching back to another time with gorgeous, lush melodies and a delicious psych folk.

Cotton Jones, from Maryland, came to New York City as a two-piece, frontman Michael Nau playing several solo songs and a few in duet with Whitney McGraw. This was a simple bluesy indie rock sweetened by Nau’s salted-caramel voice, which found perfect confluence with his lyrics, a highlight being “Blood Red Sentimental Blues.” This was easy-chair music: You felt like you could listen to these two sing forever, plus some A+ whistling. But the name of the game was quick turnaround—both the bands and the crowd seemed to swap out every 30 to 40 minutes, no time to get stale. The Zig Zags, blasting a go-fetch-some-earplugs, visceral punk metal at full volume, flipped the room 180 degrees from Cotton Jones. Playing their first NYC gig, the L.A. power trio made their presence felt with kicking music and dry wit: “This song is called ‘Magic.’ It’s about magic.” Riffs beget riffs beget not-bleeping-around riffs, at one point borrowing snippets of the Doors’ “Break on Through (To the Other Side)” to good effect.

Jonathan Rado’s band began their set in fun mode, seeming like the music and the crowd were just side effects of hanging out onstage. But after a couple of songs, the Foxygen frontman’s set got rolling, the music tightening up impressively. The highlight was “Oh, Suzanna!” which was decorated with excellent bass playing and a nice long, stretched-out, free-form bridge that found Rado on both guitar and keys.

White Denim, from Austin, Texas, headlined the showcase. And despite it being their third local show in fewer than four months, the set was from-the-garden fresh and new. Opening with “Pretty Green” off their imminent new album, Corsicana Lemonade, the music felt like it could explode at any moment, bubbling with fizzy energy. And it didn’t take long, the first few tunes like an avalanche sucking up more songs and parts of others until the now-packed venue faced an unstoppable force. Perhaps it was the midnight hour, but more than ever, the band seemed willing to open up things, with the spaces between sung verses a varying parameter with solos, long jams and full-on instrumentals filling the set—each musician pushing the envelope on songs like “Anvil Everything.” It was fitting that this dizzying evening of music from all over the rock and roll map came to a head with White Denim in monster rock-out mode on “I Start to Run” before making a smooth transition into the jungle groove of “River to Consider” and then into the blazing sing-along of “Drug,” bass, guitars and drums overlapping in triumphant glory. With their seamless segues and deft skill, Denim mocked the tight schedule of the early evening, making their 75-minute performance feel almost infinite, as a high-energy “Shake Shake Shake” and the brain-batter instrumental “At the Farm” highlighted the end of the superlative show, capping off a huge evening of music … or just another night of CMJ. —A. Stein


White Denim Are (Always) on the Verge

September 11th, 2013

White Denim – The Bowery Ballroom – September 10, 2013

White Denim are one of those bands on the verge. Yes, with a new buzzed-about album soon to drop and a growing, increasingly enthusiastic fan base, the Austin, Texas, quartet seem poised to break out in the near future. But, as they raised their ruckus at The Bowery Ballroom last night, they proved yet again that they’re always on the verge: on the verge of melting multiple songs together into 15-minute nonstop collages of whiplash rock and roll; on the verge of alchemizing new genres out of blues, psych, prog and jazz; and always, always on the verge of exploding into an ecstatic cacophony of guitar, drums and bass.

Tuesday’s gig was a free affair put on by StubHub and Rolling Stone, and the crowd was an interesting mix of the how-did-we-get-so-lucky? NYC fan base, their first-timer friends and the merely curious with nothing to lose. White Denim began with the opened-up, happy blues of “Pretty Green,” the new single off the upcoming Coriscana Lemonade. The first half of the set was marked by lots of “this is a new one” from frontman James Petralli as they gave the dancing crowd a preview of the record. The new material was strong and concise, a catalog of genres and influences tied up in a maturing White Denim sound: from two-guitar Allmans crunch on jazzed-out rhythms, to a high-energy, psychedelic instrumental aflame on drum-heavy tinder.

Almost seamlessly, the new material blended into older tunes, the title track segueing into “River to Consider” off 2011’s D, starting a tour de force string of songs and excursions that had those in the crowd gasping for breath when they could get it. All momentum was forward as the second part of the set was an avalanche of music, some songs barely feeling half-finished before the next ones overlapped and overtook them. The band was in four-man fugue state, combining impressive chops with raucous energy the way few others can. The highlights were the tension-release climaxes paced perfectly through the set. These moments felt earned by the musicians and the crowd alike, both quite often on the verge of falling apart, but in the end, always delivering. —A. Stein




White Denim Drop Jaws at Brooklyn Bowl

June 24th, 2013

White Denim – Brooklyn Bowl – June 22, 2013

I honestly don’t think White Denim realize how good they are. Like a giant mastiff unaware of how big it is, trying to sit on your lap like it’s a Chihuahua, the band plopped down a massive set of rock and roll on a sold-out Brooklyn Bowl Saturday night. Yeah, sure, no big deal to them, it seems, but the show began with a stunning 30-minute section, zipping through multiple songs, old and new, at breakneck speed without any clear boundary between them—one not quite finished before the next began. This opening stretch was sandwiched around the giddy “Drug” before ending with the rollicking “I Start to Run,” with those two song titles perfectly summing up the combined effect.

Those in the crowd spent half their time skillfully gawking and the other half jam-dancing while White Denim proved themselves to be musical hoarders: amassing notes and songs and genres through the course of the set. Not quite discarding the previous to make way for the new, but rather just cramming it all into the few remaining crevices in the sound. If you wanted to stop and take a breath to digest what you’d just heard, or perhaps even discuss it with your neighbor, you were in danger of missing the next jaw-slackening four-man foray. Best just to give an acknowledging nod and keep on dancing.

But as impressive as the first half of the show was, the second half was a tour de force. Leaning heavily on the superlative material from 2011’s D, White Denim mixed together prog jams and Southern rock into a perfect recipe, the musical equivalent of Brooklyn Bowl’s rock and roll fries. They might not know how good they truly are, but White Denim are learning pretty fast. —A. Stein


Indescribably Good

August 15th, 2012

White Denim – Brooklyn Bowl – August 14, 2012

One day last winter I discovered White Denim’s Last Day of Summer. I took to it immediately. It compelled me toward multiple replays and consumed my ears’ desires. But I felt a strange sense of guilt about only listening to this one band and a single album
for three straight months. What is it that made Last Day of Summer so appealing? Last night, at the second night of White Denim’s back-to-back stint at Brooklyn Bowl, I found myself revisiting this question, but on a broader scale: What is it that makes White Denim, live, so immensely enjoyable?

The facts of the band seem rather unremarkable: four guys from Austin, Texas, whose Wikipedia page reads like a grocery list of genres (dub, progressive rock, jazz). But, just as regional affiliation doesn’t explain much anymore (really, most bands are from the Internet), neither does genre name-checking. So I’ll spare you the use of cognitive shortcuts in the form of one-word musical-style descriptions. Instead, I’ll say that listening to White Denim live, I got the feeling they could do just about anything they want to musically. Not by means of programmed electronic wizardry or weird synthesizers, but by technical instrumentation and cunning. They could burst into an extended jam, as they did on “Drug,” or play close to the studio version, like their rendition of “Tony Fatti.”

Clear proof of their invincibility, for me, came late into the show, during a moment when lead singer and guitarist James Petralli came halfway across the stage to briefly confer with lead guitarist Austin Jenkins. Bassist Steve Terebecki and drummer Joshua Block kept plugging away, staying locked into a groove, punctuated by round bass notes. But at the end of the guitarists’ exchange, after whatever needed to be said was said, they parted and, looking over in separate directions, jumped right back into the rhythm, seamlessly. It was the kind of high-wire act where the audience is rapt by the danger while the performers calmly dazzle with their abilities—a tense moment that makes White Denim not your average jam band or any other kind. They are breathtakingly skilled, melodically sweet and deft to the point of fault. They are indescribably good and you’re lucky to have another chance to see them. —Jared Levy

Photos courtesy of Jeremy Ross | jeremypross.com


Take a Little Trip with the Young

June 28th, 2012

The Young – Mercury Lounge – June 27, 2012

About halfway through the Young’s explosion of a set at Mercury Lounge last night, the Austin, Texas, band’s frontman, Hans Zimmerman, thanked the audience for coming out: “Only the mutants come out on Wednesday night.” I’m pretty sure calling the audience a bunch of mutants was a term of endearment considering the group played a dark, mutant rock and roll that transformed a Wednesday night into an otherworldly journey. After Zimmerman asked for “more reverb in the house,” they opened up in full-instrumental form, jamming a jagged Crazy Horse–type theme, with all four members facing one another, completely enshrouded in darkness.

Clearly this was going to be one of those “twist in some earplugs, we’re gonna rock the bejeezus out of this place!” sets. Like fellow Austin bands White Denim and Bright Light Social Hour, the Young were not tightly bound by composition, letting nearly every song expand in guitar solos and penetrating rhythms. Working mostly off their newest LP, Dub Egg, and standing before a disproportionately sized bass amp, they filled the room with music, oozing into the spaces among the audience and seeping right into the skin.

The show ended with a mighty two-step of major rock riffs: “Talking to Rose,” about “an implement we use to get high,” intoxicated on its own with a severe intensity, and the closing “Livin’ Free” was the loudest and best, an insatiable jam that swallowed everything in its path. The closer felt like 12 minutes when it was nearer to three. The whole set was over too quickly but it promised more to come from the Young—another great band for mutants and nonmutants alike. —A. Stein