The place was full well beyond capacity, and it was almost impossible to move, let alone dance, but it didn’t matter.
FILM SCHOOL let out blasts of noise that would’ve made their early ‘90s influences proud, thus further clearing out the unfortunately already small crowd.
On this evening, the show started off with the orchestra performing about 35 minutes of music from Il Sogno. After that, Costello came out and sang for the remainder of the show.
Although it isn’t quite a reunion without BILL MILLION there, it was still great to hear GLENN MERCER and company tackle FEELIES classics.
Although I’m not old enough to have followed him throughout his 30-year career, this show was my 19th time seeing Parker play live since I first saw him play in 1996.
Sometimes it seems like a fruitless exercise, because that night has happened. It’s over, done. It’ll never happen in the same way again.
The day started off with Terrastock mainstay TOM RAPP, a former member of ‘60s group PEARLS BEFORE SWINE.
“Terrastock is not an indie-rock A&R feeding frenzy. Bands and artists are there at the personal invitation of the organisers because we love their music.”
At times, it was almost like one beautiful, cascading, repetitive groove which just pulled us listeners into its vortex and didn’t let go.
Hitting the stage at roughly 10:00 PM, they opened with a jaw-dropping version of “Chris Michaels” from their 2004 tour-de-force Blueberry Boat.
This show was the final one of the duo’s existence, making it a bittersweet evening: a time to celebrate their music and say goodbye.
On record, Editors display songwriting chops out the wazoo, despite drawing inevitable (and lazy) comparisons to Interpol.
I was ecstatic to learn that the guys had decided on a whim to get together without the backing of an album and tour the USA.
Since they’re continuing the tour behind their sole album Bang Bang Rock and Roll, most of the material played was from that album.
VOXTROT played a slightly abridged set, hampered by technical difficulties, that nevertheless cemented their status as one of the best up-and-coming bands in the country.
For the uninitiated, The Go! Team’s music encompasses everything from early ‘70s soul, old-school hip-hop and garage rock to modern-day electronica and indie-rock, all under one umbrella.
Playing their first US tour dates in over 15 years, THE POGUES tore through the last night of their four-night stand.
This show represented a trio of DC veterans more famous for their celebrated older work trying to break out of those boxes.
They proved that their previous reputation as a shambling, inconsistent and awkward live band is well in the past and out of date.
Backed by a gigantic screen projecting all sorts of weird, psychedelic images throughout their performance, the concert felt more like a ‘60s “happening.”
Though at times I wished they had mixed it up a little, ultimately, something made me stay, and it was the absolutely infectious sound—in short, the show rocked, giving new meaning to the maligned term “jam band.”
Playing their first New York club show in 13 years, New Zealand indie-pop quartet THE BATS was awe-inspiring.
All of this is understandable, since Metric gives off an incredible amount of energy onstage. Every song seems like it’s twice as heavy and one and a half times as fast.
SISTERS OF MERCY played a lackluster show that made me wish that I hadn’t spent $45 plus service fees to see them.
Rob still has an amazing voice and he wrote some of the best songs of the ‘90s!
ROGUE WAVE and NADA SURF released albums that were among last year’s very best, which is why this double bill was such a treat.
While these songs from Belew’s solo albums were fairly dull, with too much guitar wanking, the King Crimson songs were another matter altogether.
For the second part of their first ever American tour, Japanese Visual Kei band D’ESPAIRS RAY returned to New York City to play an exhilarating show at Avalon.
They played all the classics, including “You Can’t Be Funky,” “Boom in the Night,” and their most well-known song, “Too Many Creeps.”
The show was no different from the one a few months back, in that the setlist consisted entirely of songs from their landmark first four LPs.
The President’s Day Motherf*cker bash, featuring a phenomenal performance by the NEW YORK DOLLS, was a total glam rock O.D.
FIELD MUSIC sounded great, especially considering that they were playing with THE DIGGS’ equipment; apparently they had to lie to customs officials about their reasons for visiting our country.
The aptly named STARS were treated like stars when they took the stage at this sold-out show. And well they should be.
Despite the fact that the set consisted of so much new material, KAREN O had the crowd eating out of the palm of her hand…
Wherever there’s any dark band reunion that older folks may dismiss as a money-making scheme, you’ll find me.
They also came out with a guitarist, bass player, and a live drummer as well.
The piece built throughout the course of each of its four movements, pulling the listeners into a hypnotic trance of brutal, repetitive rhythms.
The band’s mix of humor and razor wit with the dirtiest disco, funk, and soul is backed up by tight chops and a winning, completely unpretentious stage presence.
MISSION OF BURMA took the stage and proceeded to play what was by far the best show of the three times that I’ve seen them.
From the first moment she opened her mouth to sing, over the strains of “Run Devil Run,” we knew we were in for something very special.
Opening with a song from his old band TARKIO, COLIN MELOY played a combination of songs from THE DECEMBERISTS catalog, covers, and new songs.
Is the leap in venue size from the 200-capacity Mercury Lounge to the 500-capacity Bowery Ballroom in just two months time a sign of their growing popularity or mere hype?
An Eitzel solo performance is most compelling because of the many excellent songs he’s written over the years.
If you pay to go see a performance, what’s the point of talking all the way through it?
On this quiet, rainy Tuesday night, the odd yet still laidback mood of the place ended up seeming just right, particularly given the gentle (and odd) nature of the music.
In Greenpoint, at the Kingsland Tavern, a multi-genre bill of avant-garde jazz, American Primitive acoustic guitar, and freak-folk blew minds.
This show was a rare opportunity to see BEN GIBBARD of DEATH CAB FOR CUTIE play solo in an intimate venue, much smaller than the larger halls and theaters his band normally plays.
Right after midnight (and a complimentary champagne toast), YO LA TENGO took the stage to ring in the new year in true party fashion.
Having seen them twice before, I knew to expect a full-scale girl-led power-trio with a no-wave influenced assault.
YO LA TENGO’s annual Eight Nights of Hanukkah, during which they play a show on each night of Hanukkah at Maxwell’s, is a must-see.
