Deftly played songs about nature, love, and the sea.
The blues are back!
Keith Morris was in fine form, hounding the stage like a screaming banshee and living up to his verbose and confrontational reputation.
When Reverend Gira pulls in your town and sets up the revival tent, it’s a call to all pilgrims. Heed the call, join in the triumph.
I think the speakers are still smoking from the heat generated by the version of “Aly Walk with Me” that was played and it’s over a week later!
The weren’t the Ramones but I didn’t hear any complaints.
A zealous crowd of diehards ensured that two-thirds of the main floor was full, so this was far from a bust. Despite the thinner turnout, this was a welcome return from a band that deserves a bigger following here.
Maximo Park played a fantastic set spanning their four albums, wisely focusing heavily on just-released new album The National Health (perhaps their career best) and their debut A Certain Trigger, by some measure their best records.
As the encore ended with the classic “Makes No Sense At All”, we left exhausted but utterly blown away by the absolutely great show we had just seen.
Mould seemed so rejuvenated, and his band so on fire, that this was more dynamic and passionate than any prior Mould full-band show I’d seen.
The old dogs don’t have any new tricks, but why mess with a successful formula?
Clichés and buzzwords were bandied about, like “transparency and clarity”, “game plan”, “best possible team”, and “be aware”.
The quiet setting allowed Matt Harmon and Kali Giaritta to take advantage of the intimate room’s natural acoustics, making their attractive trade-off vocals and harmonies resonate.
They opened up with “She May Call You Up Tonight” and followed it with “I’ve Got Something on My Mind” and “Pretty Ballerina”.
Oh well. I’ll stick to their records and hope for a better, tighter show next time.
You could tell that everyone in attendance, especially the many seeing the band for the first time, were electrified – the thunderous applause at the end of the main set was louder than at any past show I can recall.
At least in Jane’s Addiction case, it wasn’t better to burn out than to fade away.
This free quadruple bill in Central Park, part of CBGB’s inaugural four-day, 300+ band festival, was well worth enduring a few sweaty hours for in the oppressive heat.
The set culminated with what I think is their greatest song to date, the stunning “Up All Night”, the closing track on The Only Place.
Though the fledgling London foursome wasn’t used to playing in such heat, they gamely plowed ahead with another intense performance.
Dream-pop double header, a.k.a. Hurry Up, We’re Awaking
Right from the opening song, the twinkly, jangly guitars of Martin Courtney and Matt Mondanile sounded as soothing as cicadas and wind chimes on a warm, breezy night.
“God is in the art, that’s what I think. Until the money comes.”
Overall, Litman’s consummate showmanship and the venue’s classy old-style West Village charm made this feel like a quintessential NYC evening out.
Owing to this free show’s last-minute arrangements and the fact it wasn’t even mentioned at the previous night’s sold-out Bowery Ballroom gig, a relatively modest crowd showed up. Yet we were treated to an identical setlist as at Bowery!
This isn’t quite a show review. It’s more of a show review review. It’s more of a review of a phenomenon that dates back to god knows when—manufactured nostalgia. It’s more of a review of the complex cycle that is being relevant in New York Fucking City.
The band can still write a primo pop song.
Los Campesinos! sound is tighter, still manage to inspire sing-alongs at Brooklyn Bowl
This was an ideal opportunity for New Yorkers to catch two of New Jersey’s best power-pop bands for the price of one.
This was the Radiohead of the 2001 Amnesiac tour and the 2003 tour for Hail to the Thief, turning insular, jotty compositions into jaw-droppingly tight and powerful arena rock and it was a thrill to have them back!
Although I’m not much of a horse racing fan, I was more than enthusiastic for this early Saturday evening “Kentucky Derby party” double bill featuring these two great veteran, female-fronted local bands.
What a difference four and a half years makes, or does it?
If Graham can just be as expressive on stage is he is on record and with proper sound, this band could be as dangerous and exciting live as they are on record.
Thanks to the ever-growing Chaos in Tejas festival, Lone Star Staters were treated to a show we never thought we’d ever see: a Clean concert.
Energy in the building was kind of uneven in the early going, akin to the slow build the the band walked out to but the slow start was more than negated by the rails coming off in the end, in the best way possible.
The perfect sonic storm faded away even as the tornadic maelstrom kicked up outside.
Radiohead continue their mastery of the live stage.
When Barbato broke a string on B-side “Behind Your Eyes”, for example, they used the occasion to turn the song (only a little over two minutes on record) into an extended, impromptu, droning jam.
Given the focus on Franklin’s first two solo LPs, the show highlighted his moodier, more ethereal psych-folk side, in contrast to Swervedriver’s full-on blast furnace rockers.
On this final show of their NYC residency, the Los Angeles roots rock quintet treated the modest Bowery Electric crowd to their upcoming third album Ownerless from start to finish.
With a large draped sheet hanging behind them, onto which paint-splattered, kaleidoscopic images were projected, I couldn’t help but feel like I had stumbled into some illicit, impromptu ‘60s psychedelic basement party.
The Archers restring their bow and hit the target.
I can honestly say that I have never seen anything quite like this and may never again. But I’m sure as hell going to try.
Aided by the Music Hall of Williamsburg’s crystal-clear, punchy sound system, the band delivered another explosive and energetic performance.
On Monday night, Washed Out and Memoryhouse played Music Hall of Williamsburg
Photographs and a review of EMA’s fantastic show at Music Hall with Canadian band Nü Sensae and Brooklynites Talk Normal
Nevertheless, we got a very short, 35-minute set that concentrated mostly on Interstellar with a few tunes from her 1st album thrown in.
Real Estate is a band with a very particular, mannered sound and they have to sound right to be fully effective.
Throughout, it was a pleasure hearing Mark and April harmonize together, like on the catchy single “Wait For the Waves,” with that extra special close-knit entwining of voices that singing siblings often have.
