Tag Archives: With Light and With Love


Woods Headline Stacked Bill at Music Hall of Williamsburg

May 9th, 2016

Woods – Music Hall of Williamsburg – May 7, 2016

It felt like two was the number of the night at Music Hall of Williamsburg on Saturday when a stacked bill filled the room with heady tunes for a sold-out crowd. The homemade duo called 75 Dollar Bill opened the show. Stretching just three songs into their 30-minute slot, the two musicians took guitar and percussion to deep places with thrilling blues-raga and trance-out hallucinations that absorbed the murmurs of the early crowd.

Ultimate Painting from London, in the middle slot, embraced their throwback sound, evoking both the Velvet Underground and Brit bands of yore. The set bounced between material from their previous two albums as well as newer songs, gaining strength from the power of two, namely the interplay between guitarists-vocalists Jack Cooper and James Hoare. The vocal harmonies and guitar back and forth brought layers of complexities to the seemingly simple sound. On songs like “Ultimate Painting” and “Central Park Blues,” you could feel a rock and roll explosion bubbling beneath the surface, which finally came in the set-closing “Ten Street” with the band joined by members of Woods. The sound took the additional musicians as fuel, driving the two-drum, two-guitar, sax-and-keys ensemble on a long jam-filled journey that dashed across the surface of multiple sections with a dark “Can’t You Hear Me Knocking” energy, Hoare hitting many guitar peaks along the way.

Finally, Woods, home in Brooklyn, played as a six- (and sometimes seven-) piece, but two was still felt in their sound: The band flipping easily between two sides of the same coin, so to speak. Indeed, the dual is-it-a-particle-or-a-wave nature of Woods’ sound was in full effect as they filled their set with contrasting moments of beautiful, rustic folk and vicious, dark psychedelic jamming, a balance few bands since the Grateful Dead of old have had. The performance opened with “Morning Light,” off their acclaimed new album, City Sun Eater in the City of Light, Jeremy Earl’s distinctive falsetto and acoustic guitar countered by Jarvis Taveniere’s slide guitar. The opening section showed off Woods’ prettier side, a guided hike through their musical forest on tunes like “Politics of Free” and “Leaves Like Glass,” off 2014’s With Light and With Love, with its crunch of guitar melody, deliberate rhythms and pensive lyrics. But with a change to electric guitar by Earl and a distinctive change of mood, that hike quickly turned into an off the path, which-way-is-out funked-up mind trip. For “Sun City Creeps” they suddenly had a saxophone-trumpet horn section and a dark, dance-ready, bass-drum groove.

At a couple of moments during the show, the music poured out of one song and into the next as if Woods had heated to the point of evaporation, their vapors no longer contained and flowing into the room. The first of these came out of “Sun City Creeps” and led into “The Take,” a slow burner with an evil hypnotic funk that seemed to stretch on forever, jagged guitar soloing over trippy rhythms. The second occurrence was at the end of the set when the music flowed into the closing “With Light and With Love,” which erupted into a fiery extended jam that found climaxes on top of climaxes. The encore featured a jammy “Moving to the Left” and then Cooper returning to help a surprisingly well-fit cover of Graham Nash’s “Military Madness,” perhaps a statement of some sort or maybe just a song to play, but, in the spirit of the evening, most likely both. —A. Stein | @Neddyo


Woods Take Rough Trade NYC on a Musical Excursion

June 17th, 2015

Woods – Rough Trade NYC – June 16, 2015

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It was just another mind-bending, sensory-delight Tuesday night at Rough Trade NYC. Quilt got things going with an excellent set centered around new material from their upcoming album. The Boston quartet operated comfortably in that place where Rubber Soul flips over to Revolver, with two-, three- and four-part harmonies infusing a full complement of psychedelic guitar, bass and drums. By the time their set finished, the room was filled and in the proper headspace for the headliners, Woods.

The woods are a great place to hide, so many good spots to disappear and from which to reappear. During their superlative set last night, hometown band Woods showed they had plenty hiding within: at various points there was a folkie singer-songwriter, a full-fledged rock band, an earnest indie and a powerhouse jam band lurking onstage. They opened with a pair of more song-oriented pieces—“Leaves Like Grass” and “Cali in a Cup”—singer Jeremy Earl giving all indie-folk stars a run for their money with his wind-in-the-trees voice and evocative lyricism. A new sound popped out of its hiding spot during “Pushing Onlys” leading to the first of many extended jams. This one featured nebulous, Technicolor zaps of guitar fired across the stage and out into the sold-out crowd.

With eye-melting lights from Drippy Eye Projections it was impossible to decouple the music from the colorful liquid projections. Woods’ jams seemed to trace the curvature of the emulsions, spiraling and bubbling with a hallucinogenic rainbow. These musical excursions took on many flavors: from the milk-in-coffee slow-curling vortices of guitar and organ around bass to the being-chased-down-by-a-cougar gnashing two-guitar rock-out to the full-band space exploration. The set closed with two ragers from last year’s With Light and with Love. “Moving to the Left” embodied everything Woods in just one song, fantastic composition, with a great Jerry Garcia–melodic hook and spasms of groovy rock and stoner psych. The album’s title track closed the set with a multitiered guitar jam equal parts in your face and in your brain. A sweet two-song encore finished the night before Woods sank back into their hiding place until next time. —A. Stein | @Neddyo





Woods Take The Bowery Ballroom into Orbit

May 19th, 2014

Woods – The Bowery Ballroom – May 16, 2014

In recent years, Woods have gone from just a band to the gravitational center of a small musical universe. Other bands sounding like Woods is a thing. And artists having their albums released on Woods’ label or produced by that guy from Woods are things other bands rightly aspire to. Take Quilt—the opening act at The Bowery Ballroom on Friday night—a far-orbiting body, but orbiting nonetheless with its cross section of weird-folk songs and free-floating jams. Performing live, the emphasis was on the latter, with several Grateful Dead–of-the-’60s excursions, democratically elected brain fodder that were long but not too long. Showing off a real tour-tested cohesion, Quilt were in good form, relying heavily on material from their recent Held Up in Splendor album. The final movement of the set was either multiple songs seamlessly stitched together or a far-reaching opus with twists and surprises, trippy spirals, groovy jogs and hairpin turns.

As enjoyable as Quilt were, the sold-out crowd wanted the source, and it was good to see Woods in their element. Drippy Eye Projections provided the show’s visuals with old school liquid light displays bubbling behind the band. The projections had the effect like Woods were playing in some petri dish, part of a Technicolor ooze on the hinge between chemistry and biology. The music shared in the metaphor, natural, organic folk-based songsmith-ing meeting explosive, entropy-building jam outs. For the most part, the show was a live imagining of the excellent new With Light and With Love album. Each song was recognizably Woods at its core, but small variations on the basic theme and evolution in the sound make large changes. The title track was a representative highlight, Jeremy Earl’s unique falsetto vocals setting the mood and then releasing the tension as the band escalated into an ecstatic improv.

Little spacey ambient noodling filled the spaces between numbers: the primordial ooze from which the songs bubbled through, the medium of the goo as important as the shapes and colors moving through it, superlative songs like “Moving to the Left” as enthralling as the jams they set adrift. At one point, Woods introduced their new bassist, Chuck, for whom the packed crowd enthusiastically boogied down and/or attempted to keep their minds from leaving terra firma altogether as the scrambled rainbow colors cascaded over the stage. The encore featured a dedication to their “Vermont friends” (and fellow orbiteers) MV & EE and an excellent cover of Pink Floyd’s “Green Is the Colour,” Jarvis Taveniere playing an earthly 12-string, Woods making it beautifully their own. It was the end of one of those shows that felt, in its glorious reverie, like it might not ever end at all. But, alas, we were finally released from the Woods orbit, but hopefully not for too long. —A. Stein