100 Shows of 2010 - #93: The Ferocious Few @ 9:30 Club, 11/27/10

Sometimes I find myself way, way, way more excited about an opening band than a headliner. Either a band I'm totally digging or curious about gets added to a random major act's bill, or a band I'm totally digging or curious about is opening for some other indie band. It's not an everyday occurance, but it does happen quite a bit. And it happened recently, when I went to witness the live fury of those two dear San Franciscans Daniel and Francisco known to one and all as The Ferocious Few. Most of the packed house was quite possibly there specifically for the main event, Miss Cyndi Lauper (who Chris reviewed a few days ago), but yours truly was there for naught but the Few. And my friends, do they ever put on one heck of a rock&roll show.

MINI RECAP: The Ferocious Few = Wolfishly Fierce! Overall Score: B+

Sometimes touring with a major musical force must be a little bit of a challenge. After all, you've got to deal with the hordes of people who are attending this show solely for the purpose of seeing their beloved headliner, and have no interest whatsoever in whatsoever opening band is warming up on whatsoever evening. In such cases, the bands have to work terribly hard to turn heads and open ears. Luckily, I think The Ferocious Few was up to the challenge of winning over all of those 80s nostalgists (and their kids!), and I saw quite a few bobbing heads and attentive eyes directed their way during their (not nearly long enough!) set.

Many of you will know how much I loved (i.e. LOVED) the record Juices, the fine, fine filthy rock outing by these Ferocious Few. That raw, predatory straight-up rock of theirs sends shivers up my spine and then some. And mercy me, it did the same dang thing to me in the flesh. And then some. "Me And The Devil", one of my most favorite tracks off Juices, was rampantly on-edge, showing off the Few's (un)holy trinity of Francisco's impossibly perfect vocals, razor-sharp guitars, and Daniel's skin-lashing drumming. It's simple, but classic. Sometimes it does only take two to make a thing go very, very right. I was also particularly fond of "The San Francisco Song", just Francisco and his guitar, prettily-strummed and provoking of thought ("I got no desire to be a fly-by-night radio sensation").

I got one heck of a kick out of Francisco's introduction to the snarling "Gasoline & Cocaine", as he smirkingly called it a "song about sustainability." Daniel's arms and legs were furiously akimbo during this song in particular, giving him an almost Gumby-ian presence behind his kit as he smashed the drums with animalistic strikes. They closed it down with "Crazy Love", the perfect song for those ragged tinges in Francisco's tremendous yet tender voice, fierce and lonely all at once.

As good as they were, and believe you me little loves they were very good indeed, I can't wait to see these two live in a smaller venue, headlining in their own right. I can't even imagine the levels of awesome that might be reached.

mp3: Porcelain Doll (The Ferocious Few from Juices) (song from the most excellent Bay Bridged)

100 Shows of 2010 - #84: The Phantom Band @ 9:30 Club, 11/1/10

Of all the shows I've been totally excited about this year, there's one show that stands alone thus far as my most highly-anticipated show of the year. That, friends, would be those deliriously delightful Scots of The Phantom Band, otherwise known as the apples of mine eye. Ever since yours truly first heard the siren song of their record Checkmate Savage, I was in smit with their rugged, weird, glorious noise. So it was only natural for me to want to see the fantasticalness of those songs in the flesh. I probably would have been crushed beyond salvaging if the boys had been anything other than as wonderful as I had hoped. Thankfully, they were amazing.

MINI RECAP: The Phantom Band = Ya Dancer! Overall Score: A

They might have been the first band of the night, ladies and gentlemen, but as good as both Plants & Animals and Frightened Rabbit were, and they were very very good, this show was all about The Phantom Band, at least as far as I'm concerned. Their set was superb from the very beginning, putting forth as they did an astonishing rendition of "Throwing Bones" that sounded inescapably loud and haunting and just plain wonderful. Truth be told, I was there for the Checkmate Savage stuff, but it was rather interesting to get an earful of the offerings from sophomore record The Wants (don't worry, I'm sure I'll foam at the mouth about it soon). The new songs were rather a departure from the older, and took the band out of the glens and into the dancehalls. The darkness of their overall sound with some quite danceable beats made for one hell of a juxtaposition.

One of the stratospheric highs of the set came when the band launched into "Folk Song Oblivion", my second favorite of all Phantom Band songs. The sound, which ambles and rambles anyway, seemed even bigger yet even more stark than on record. Your guess is as good as mine, friends. However possible, it was magic. They have a way, much like British Sea Power to whom I think they are distantly related, sonically-speaking, of incorporating, intentionally or not, the natural landscapes of their motherland into their music. They can be terrifying, enthralling, and beautiful, and oftentimes all at once. My one complaint, albeit a minor one, was the omission of my absolute favorite song "Halfhound" from the set. Next time, please, lads.

I'm just gonna go ahead and state definitively that The Phantom Band is one of the best live bands around. They are louder, they are much more interesting, and they are inherently more charming than about 95% of bands out there. So do yourself a favor and embrace the brogue. You'll be ever so pleased you did.

mp3: Walls (The Phantom Band from The Wants)

mp3: Folk Song Oblivion (The Phantom Band from Checkmate Savage)

Otherwise Engaged: Ariel Pink’s Haunted Graffiti/Os Mutantes

It is an unfortunate reality for the serious concertgoer that on occasion, there will be more than one show on any given night that you really, really, REALLY wanna go to. Since the vast majority of us don't own a time machine, nor have the ability to either clone ourselves or split ourselves in half (or thirds or quarters, depending on the night in question), this tends to present a problem. Difficult decisions are made based on a multitude of variables (perhaps some of you even make lists of pros and cons), and ultimately, a show is chosen. But those other shows are still gonna be killer, and I'd like to give a little face time to the shows that, while I can't go myself, are highly recommended all the same.

One could say that all things weird and wonderful, all sounds great and small were made by the Animal Collective-approved Ariel Pink’s Haunted Graffiti and the bewitchingly bizarre Os Mutantes. There’s gonna be all sorts of psychy-electro-trippy-dippy wackiness happening when LA meets Brasil and new school meets old school at the 9:30 Club this very evening. I suspect there might also be a whole lotta dancefloor action, as well. If you're in the DC area and in need of something to do this holiday evening, consider yourself booked. Just make sure to bring your dancing shoes.

mp3: Round and Round (Little Loud Remix) (Ariel Pink's Haunted Graffiti from Before Today)

100 Shows of 2010 - #83: Local Natives @ 9:30 Club, 10/28/10

I tell you what, y'all. The day of the Local Natives show was pretty craptastic, which made it all the more imperative that my soul be soothed by the most excellent sonic splendor of Local Natives. I realize it's a heavy burden to place such an emotional crutch on a traveling band, but I was fairly sure Local Natives could handle the pressure. After all, this is a band that's made the leap from DC's smaller venues to the legendary 9:30 Club in a matter of months. The sold out crowd was abuzz with anticipation, and we all waited to see just how much the seriously amazing (on record) band could bring it in person. The answer, of course, was a whole heck of a lot. Witness, my friends, live musical awesomeness.

MINI RECAP: Local Natives = Lusciously Noisy! Overall Score: A

Striding out to David Bowie's "Modern Love", the band worked the crowd into a frothy lather of love from the word go. The band was, inconceivably, better live than on record. From the ferocious feistiness, rollicking rollers, and big badness, Local Natives was nigh on brilliant. A cover of the Talking Heads track "Warning Sign" proved a good move, with the prettiness of the Natives adding new dimensions to the oft abrasive Heads. When it came to their own songs, the band at times gave me chills. "Wide Eyes" was particularly stunning, verging on haunting as the notes soared and filled every molecule of the room (well, every molecule that wasn't already crammed with people). It was at this moment that someone standing near me opined, "They're not bad," and I'd venture to say that's one of the biggest understatements of the year.

"Shapeshifter" was another goosebump-inducer, while slightly less china-delicate than on Gorilla Manor it was still glorious, a hazy swirl of loveliness. For some reason, at times I found myself thinking of that Kings of Convenience record, Quiet is the New Loud, and how Local Natives kinda turns that sentiment on its ear, seeing as they can somehow do both simultaneously and quite splendidly.

I'll say this, whatever voodoo those boys do got me feeling all better. My shitty day instantly became a thing of the past, lost in the ether, as those sunny sounds took hold of my brain. Local Natives is definitely proof that some fine live music can heal your soul.

mp3: Wide Eyes (Local Natives from Gorilla Manor)

Newsflash!: Win Tickets to Ariel Pink's Haunted Graffiti!

Dear DC friends! Do you have plans Thursday evening? No? Well, you could! We've got a pair of tickets to see the weird and wonderful tour pairing of Ariel Pink's Haunted Graffiti and Os Mutantes, as they take over the 9:30 Club for what will surely be a night of splendid sonic insanity. And you could be going! Simply drop us a line and tell us why YOU should go to the show. Winner will get a pair of tickets! Simple as that. Contest closes tonight at 10 EST, so get your skates on! Here's a fancy remix to get you in the mood.

mp3: Round and Round (Little Loud Remix) (Ariel Pink's Haunted Graffiti from Before Today)

100 Shows of 2010 - #82: Die Antwoord/Rye Rye @ 9:30 Club, 10/27/10

Some of you quite very possibly remember a little band called the KLF. They came from Britain, and they got the kids movin' and groovin' with their big bastard songs. They reached rather stratospheric heights of popularity, and even went as far as to burn one million pounds, just because, well, they could. Turns out, it was all a big joke. Fast forward to now and we have perhaps another example of the joke band phenomena. When it comes to South African duo Die Antwoord, one must ask "are they or aren't they" when it comes to being legit. Bona fide bandness aside, one thing probably can't be disputed. Seeing Die Antwoord live is a pretty amusing and entertaining way to spend an evening.

MINI RECAP: Rye Rye = For Real! Die Antwoord = Who Cares! Overall Score: B+

Ok, so you can totally question whether Die Antwoord is for real or not. However, this question most certainly cannot be asked of Miss Rye Rye. No sir. No way. No how. This lady is all sorts of for real. I mean, anyone who brings along three strapping, shirtless fly boy dancers cannot possibly be anything other than straight up For Real. From the giant mega beats and seriously funked up grooves to the early 90s nod of the dancers (including Lady Rye Rye herself, let it not be said that chickadee doesn't work hard up on that stage), her set was mostly killer, very little filler. You can see why MIA is a fan of hers, what with the sassy lyrics and intrepid dance moves. I was beyond impressed by this girl, y'all. Hot damn.

Die Antwoord, oh Die Antwoord. Are you faking it? I have to say, I probably am closer to believing in their KLF-ness than their legitness. But that begs a question of its own: Does that even matter? When it comes to being straight up entertained, Die Antwoord, faux or no, get the job done. Their DJ, especially, impressed me. Behind that silly ape mask is a man (or large lady) who knows how to lay down some bitchin beats. The dastardly duo out front, too, know how to work a crowd. The pauses between some songs were too long and gaping, but the banter and the overall stage presence were pretty fine overall. And they worked the rather large crowd into quite a lather. They seem to be obsessed with ninjas, though, but who doesn't like a good ninja every now and then? Perhaps Die Antwoord does have a case of the KLFs, but perhaps sometimes it's good to have a giggle at the sillier side of the music industry. And hey, if they're totally serious, well, that's also pretty funny.

I wasn't expecting too much out of this night, for some reason, but I have to say I had a really good time. On the one hand, Miss Rye Rye threw down some serious good times, and on the other hand, well, there was the tomfoolery of Die Antwoord. And I had a smile on my face all night.

mp3: Enter The Ninja (Die Antwoord from $O$)

100 Shows of 2010 - #71: James/Ed Harcourt @ 9:30 Club, 9/27/10

I've tried and tried and tried to come up with a suitably reverential opening for this review. But even as much as I can foam at the mouth about how wonderful certain bands are, I don't think I can adequately express to you just how amazing, how sensational, and how breathtaking the James and Ed Harcourt show was. On the one side, you have a beautiful, haunting voice (Ed Harcourt) full of ethereal moments and seductive loveliness. On the other side, well, you have much the same in the frontispiece for James, Tim Booth. It's in contention for my show of the year, and was nearly a religious experience. For real, y'all.

MINI RECAP: Ed Harcourt = Elegantly Hypnotic! James = Jaw-dropping! Overall Score: A

Somehow, shamefully, I'd never seen the divine Ed Harcourt before. I know, shame on me. I really should have my head examined. Onstage were three easy pieces, Ed, his keys and guitar, a drummer, and a lady bassist. The richness of the instrumentation was the perfect backdrop for Harcourt's vocals; those incredible, pitch-perfect, honey-coated vocals with equal parts languid enticement and thoughtful sentiment. The sound of this trio was sheer magic, hovering in the starry realms of twilight fantasies and secret, sweet rendezvous. I fell in love over and over again, thanks to lyrics like, "I wish that I was fiction/I wish that I was fact," and "Are you cursed or are you blessed?". Despite the fullness of the band's sound, the songs had a remarkably intimate quality, leading me to feel like the songs were sung only to me (what a delightful notion). To me, Ed was at his absolute best in songs like "The Trap Door", a slight huskiness in his voice giving him a very tender, very sexy appeal. The combination of Ed's guitar strumming and that voice was brutally gorgeous. It made me melt. For some reason, I feel like there's a hint of nostalgia to Ed, as though he is not quite of these times. Which, my friends, is a very good thing indeed. It was a beautiful, beautiful set.

And then, it was James. Despite being another formative British band in my youth, I never had the joy of seeing the band live. The band took the stage to a deafening roar, and the surprisingly loud crowd didn't seem to stop cheering all night. I really couldn't take good notes, so in awe was I. They pulled from all periods of their long, wonderful career. But what got me most of all was my favorite trio of James songs: "Getting Away With It", "Say Something", and "Sometimes (Lester Piggott)". I'm pretty sure I teared up at one point. It was just plain spectacular. The sheer glory of the band, the sheer magic of Tim Booth's voice, and the sheer nostalgia of it all. And I had no idea Booth was such a crazy dancer! He writhed and whirled all over the place, all arms and legs flailing artfully. I got chills from the word go, and they didn't leave me for the rest of the night. As the band bounded enthusiastically through megahit (and Britpop dance night fave) "Laid" and feathers rained down on the floor from the rafters onto a sea of blissful James lovers, I thought to myself, does it get any better than this? The answer, friends, is probably not.

We Yanks don't get many chances to see the old guard. So I do hope you'll take advantage, my loves, when bands like James and Ed Harcourt come to town. Drop what you're doing, cancel all other plans, and prepare for one hell of a night.

mp3: Say Something (James from Laid)

100 Shows of 2010 - #66: The Drums @ 9:30 Club, 9/12/10

We all know how much Sunday nights can totally suck. The weekend is inevitably coming to a close, the work week is about to begin...so Sunday evenings are oft spent on the couch, mourning the loss of two days of freedom while watching The Glades (hey, it works for me). But this particular Sunday, I decided it was time for some serious rock and roll. As luck would have it, The Drums was playing the 9:30 Club, and seemed well up to and equipped for the task of rocking me, baby. When I got home from their set it was a lot closer to Monday morning, but I was a whole lot less concerned. I went to sleep feeling totally and utterly rocked and rolled.

MINI RECAP: The Drums = Sasstacularly Spunky! Overall Score: B+++

I felt an instant affinity for these hyped-up New Yorkers, even before they played a note. Their look, and really, it is a pretty serious look, reeled me in. Think 1980s Smithsian, but whereas Morrissey and Marr wore their shades of gray on their sleeves, literally, The Drums opt for a bold and bright take on their retro love, which matches the overall vibe of their music. I was immediately aware of the serious stage presence of their frontman, the prancing and preening Jonathan Pierce, who sashayed splendidly around the stage for the duration of their set. Puritanical purists, avert thine eyes, but Pierce seems to me like some kinda Freddie Mercury/Ian Curtis hybrid, blending the peacock strut of Mercury with the empassioned twitching of Curtis. While the music of The Drums doesn't quite align with either band (especially the full-throttle bombastic operatics of Queen), the resemblance was, to me, uncanny. Throw in an ocassional vocal reference to Ian McCulloch, and you're getting warmer. And I found it all rather delightful, and impressive, when Pierce managed to wriggle out of his red satin bomber jacket without putting down the mic or even batting an eyelash.

Any band that cites Orange Juice as an influence wins favor from me, and the sound of the great Scots certainly permeates here (I'd also throw in a nod or two to that other band of amazing Scots, Josef K). The melodies and the arch poppiness of the rocking was drenched in Scottish (and English, too) shades, though Pierce's voice took things way over the top. In a good way, of course. The songs were hypnotic, and pretty much irresistible. Between Pierce's vocal antics and the lipstick gloss of the guitar to that machine gun drummery, it was a glorious little set. I'm not sure where this band has been all my life, but I'm glad they're here now.

I'd have to say my only real complaint about the set was that, well, it ended, and that at times the vocals seemed a wee bit muddy. But other than that, it just doesn't get much more entertaining, my little lovelies. Lucky for you, the band is still in the midst of a major US tour, and will be popping over to Europe in a few weeks to spread their love amongst the peoples of the EU. I seriously, forcefully, and earnestly encourage you to spend a night with The Drums. You won't be disappointed.


mp3: We Used To Wait (Arcade Fire Cover) (The Drums from BBC3 Session)

100 Shows of 2010 - #46: Chromeo @ 9:30 Club, 7/26/10

It was bound to happen. Inevitable, you might say. It finally happened on July 26, when yours truly went to judge not one but two gigs. Yes, friends, I was double-booked. And how delightful it was, two shows in one night. I highly recommend it. First up, after a kind last minute offer from my lovely friend Laura, was Chromeo, shimmying and shaking all over the place at the 9:30 Club. It was ridiculously over the top, get up get down fun, and I’m pretty pleased to have seen this dynamic duo in the flesh.

MINI RECAP: Chromeo = All Business! Overall score: B+.

Even before Chromeo appeared, the die-hards down the front were chanting for them (“Chro-me-o, Oh-oh”) loudly and lustily. I can’t think of the last time I was at a gig with such urgency from the crowd before the band took the stage. When the duo did emerge, the populace of the club went absolutely insane, and didn’t really let up from there. The guys themselves, a big dude in a white wifebeater and a skinny dude in even skinnier jeans and shades, looked pleased as punch to be there, full of smiles and seemingly feeding off the energy of the assembled. I wouldn’t have put the two together, but Chromeo showed me once and for all that Montreal knows how to get their groove on. Perhaps my favorite part about Chromeo is their keyboards: held aloft by lighted mannequin legs, somehow the most appropriate vessel for them.

Natural showmen, the pair had the crowd eating out of their hands effortlessly. They know how to work a room, and then some. The beats were big, the vocals were verging on silly, and I was smiling the whole time. It was a feel good kinda set, a set to leave your inhibitions at the door and just dance til you can’t feel your feet. Every kinda soul you can imagine was at the 9:30, from the glow-jewelry crowd to the be-khakied, and everyone was having a grand ole time. Hard to tell if the boys take themselves seriously or are merely poking fun at anyone and everyone, but I was well entertained. If you ever find yourself needing a night of carefree dancefloor abandon, you could do a lot worse.

mp3: Don’t Turn The Lights On (Chromeo from the forthcoming Business Casual)

100 Shows of 2010 - #42: She & Him/The Chapin Sisters @ 9:30 Club, 7/7/10

Please forgive me if I’m turning into a broken record, but there was a time, not too long ago, when for one reason or another, I wasn’t all that fond of female singers. Yeah, I can’t really explain it either. Thankfully, that period of unjust musical discrimination against my fair gender has passed, and I fully appreciate when one of my fellow ladies has serious pipes on her. As luck would have it, I was able to see not one, not two, but three such fierce little ladies do their thing last Wednesday, and it was, friends, rather an awesome spectacle. Between the raw, stripped down harmonies of the California dreamin' Chapin Sisters and the fantastical, retro country pop stylings of Miss Zooey Deschanel of She & Him, sisters were definitely workin’ it out. And yes, for those of you that were wondering, Zoeey was indeed wearing black tights. Even in the DC heat. Girl is dedicated.

MINI RECAP: She & Him = Be Still My Heart! The Chapin Sisters = Swing Low Sweet Chariot! Overall score: A.

The Chapin Sisters, brothers and sisters, are nothing short of magnificent. They walked onstage, resplendently reminiscent of the 70s with their long, pastel dresses and long, sun-kissed blonde locks. From the moment they opened their mouths, they did nothing short of blow me away. Their voices, o their voices. Breathy but so full, big and bold but delicate at the same time. Perhaps the most impressive thing about the sisters Chapin (Lily and Abigail, just so you know), is that regardless of the stage configuration, i.e. with acoustics and a tambourine or two, with backing from the gents of She & Him, or just plain singing, they will absolutely leave you breathless. Among their beautiful original material was a song dedicated to the “original bad girl, Britney Spears,” a cover of said Brit’s “Toxic”. Suffice it to say, the Chapin version is infinitely better than the manufactured original. If that sounds like a backhanded compliment, believe you me, it’s not. These ladies can outsing just about any gal out there. Those glorious, haunting harmonies are nothing short of intoxicating. They did ten songs in their set, and they could have done ten more, and still I would have wanted more.

After the too-soon departure of The Chapin Sisters, after a short interval it was time for the sold out crowd to welcome She & Him to the stage. I held off listening to the new record, Volume Two, because I wanted to hear it live for my first time. And I wasn’t sorry about that, no sir. It had been two long years since I saw M. & Zooey’s band play, not since the Virgin Fest of 2008. At the time, I decided that to me, Zooey sounded like a baby Patsy Cline, and my opinion hasn’t changed. They began with a wonderful rendition of “Change Is Hard”, and a dude near me made an epic understatement as he commented, “She’s got a good voice.” The sound was deliriously good, wistful, mournful tones of twang all over the place. One of the high(est)lights came early, with a seriously killer version of “I Was Made For You”, featuring the cooing and girl group stylings of The Chapin Sisters (who, adorably, had changed into outfits of charcoal dresses and black tights, to match Zooey). “I’ve never been to DC before,” proclaimed Zooey, before the band stormed through one of my favorites, “Black Hole”. I will forever love the sadness hidden behind the perkiness, and the line “I’m alone on a bicycle for two.” Glorious.

The first few songs were all from the first record, but the band soon mixed things up. The new tunes felt comfortably familiar alongside those from the first album, though they were definitely less country-tinged. As per usual, “You Really Got A Hold On Me” was stunning, with Zooey and M. trading vocals backed by an acoustic guitar. And oh, how the little ladies in the crowd went absolutely crazy every single time M. sang a note. It was incredible, the level of frenzied shrieks. “Brand New Shoes” was perfect. “Ridin’ In My Car” was perfect. And then they went and pulled an almost unfair trick from under their collective sleeve. “We’ve never done this song before but we’re gonna do it for you guys,” Zooey declares, before the band launches into an impeccable, irresistible cover of the Beach Boys’ classic, classic summer song, “Wouldn’t It Be Nice”. It was sheer bliss.

Looking back on it, this show was definitely in the top handful of shows I’ve had the pleasure of attending this year. Both bands really, really wowed me. The Chapin Sisters, well, they were just plain exquisite. Make their acquaintance immediately (hint: they’ll be back on the road later in the year). As for She & Him, they were even better than the last time I saw them. They’ve developed into one of the finest live bands around, if I may be so bold as to say so.

mp3: I Was Made For You (She & Him from Volume One)

100 Shows of 2010 - #33: The Brian Jonestown Massacre/The Young Sinclairs @ 9:30 Club, 6/9/10

Now this, this is what I’m talkin’ about right here. Take one of my favorite bands of all-time, in this case The Brian Jonestown Massacre, throw in those darling upstarts/reigning Best Band In The Commonwealth of Virginia, in this case The Young Sinclairs, and have them play together at the best club in, well, anywhere, in this case the 9:30 Club, and amazingness will undoubtedly ensue. And sure enough, ensue it did.

MINI RECAP: The Brian Jonestown Massacre = Too Good! The Young Sinclairs = Too Good! Overall score: A.

By now, I’ve lost count of just how many times I’ve seen The Young Sinclairs (otherwise known as the pride of Roanoke) over the past couple of years. I’m sure I’ve said it before, but this band just gets better and better with each and every live outing. Having seen them handle themselves so well here with such legendary heavyweights, I think it’s safe to say these boys are destined for success. It made me more than a little proud to see them pass their 9:30 Club test with such flying colors. Their psych revivalism is the perfect fit for an opening slot with The BJM, and their pitch-perfect harmonies and overall lush sound filled the club beautifully. They jingled and jangled and popped all over the place, and frankly that Sam has gotten pretty precociously sassy up there in his frontman duties. Cor, blimey! They left it all on the stage, from their idyllic dreamscapes to their more British Invasion tunes. They’re all grown up, and they were sensational. Watch this space, that’s for damn sure.

And then it was time, for the second glorious time in two glorious days, for more of my beloved Brian Jonestown Massacre. Their set was very much like the Philadelphian set of the night before, which surprised me just a little, as I was expecting a whole different set. But I suppose when what you’re doing is so good, well, there’s no reason to change it. It could just be because I love the 9:30 and do not love the TLA, but I got the sense the band was a little more into the show on this night. Anton was just as withdrawn to start, and by the time second song “Vacuum Boots” had finished I’m pretty sure he still had yet to even glance at the crowd. But genius can be peculiar.

During a rather fabulous version of “Wasted” off the fabulous Methodrone record, Joel totally made me love him even more by rocking not two, not even three, but four maracas (two in each hand, of course). “Servo” was amazing, and got the kids shakin’ and shimmyin’ in the audience. “Anemone” was utterly transcendent, giving me chills and goosebumps and a tingly spine all at the same time. That has to be one of the most perfectly seductive songs, musically-speaking, of all-time. “Jennifer” was great once again, Anton still an island over on the left of the stage, but the band totally in top form all around him. “Wisdom” just about brought me to tears with that powerful psychgaze swirl. The Matt Hollywood classic “Not If You Were The Last Dandy On Earth” was perfect as usual, “Who?” was perfect as usual, and “That Girl Suicide”, well, that too was perfect as usual. The band finished strong with “Oh Lord” and “Satellite”, and then they were gone, having so successfully given the people what we so lustily clamored for.

Dear friends, I must say, it was one of my top shows of the year thus far. Seeing this show at this club is a special thing indeed. If you’re not already on The Young Sinclairs’ bandwagon, get right to it, and if you haven’t yet seen the BJM yet (or even if you have), make sure to get out there and experience them for yourselves. These bands are musical salvation. Let the good times roll, indeed.

mp3: Oh Lord (The Brian Jonestown Massacre from Take It From The Man!)

100 Shows of 2010 - #28: Mono/The Twilight Sad @ 9:30 Club, 6/2/10

Another night, another show at the 9:30 Club. Oh, how I love that place. I’ve seen countless great shows there, and this show was no exception. I’d been excited about this one for a while now, being into both very loud bands and Scottishly-accented bands. It turned out to be an excellent bill, the noise of The Twilight Sad falling somewhere inbetween the sheer sonic force of Mogwai and the thoughtful songcraft of Idlewild proving a perfect foil for the enchanting, painful (even through the earplugs) web of sound made by Mono.

MINI RECAP: Mono = Noisy Beautiful! The Twilight Sad = Sensational Scots! Overall score: B+.

Up first, the delightful, heavily-brogued Glaswegians of The Twilight Sad. Going into the show, I wasn’t really that familiar with the band, but given my propensity for all bands Scottish, I was excited to see them. I was almost instantly pleased. Their dark, somewhat sinister sound and well-formed songs appealed to me at once. Any singer (hello, James Graham, you're my latest crush) that not only gets into his performance to the point of mild convulsions but also rolls his “r’s” like that is definitely good in my book. The decibel level was good and loud, with the band churning out song after song of brooding, sulking reflections. The Twilight Sad, I must say, rather impressed me with their melding of big, anthemic efforts, solid rock, and at times ferocious noise. The juxtaposition of hard edges with lovely melodies was very pleasant indeed. Of their 8-song set, there was just one that felt just a wee bit tedious, full of repetitive notes and stretching just a bit longer than perhaps it should. I love how Graham was clutching the mic at times, white-knuckled as though he was afraid of it running away from him. They closed with a big, beautiful rendition of the fantastic song “Cold Day From The Birdhouse”, a raucous romp of noisy abandon. It was a great way to end a pretty fine set, and I hereby add The Twilight Sad to my list of fantastic Scottish bands.

As for Mono, well, what can you say? Having seen them once I knew what to expect. It was gonna be loud, and it was gonna be spectacular. They’re probably no longer the noisiest band in the world (I’d have to say The Black Angels might be even louder), but they’re still cause for eardrum alarm if you’re not prepared. Cautionary foam firmly in my ears, I was ready for a set full of typical Mono fare. I wasn’t disappointed. The foursome proceeded to emit some seriously exceptional songs, holding just about everyone present in the palms of their hands. With the two axemen flanking the group, sitting on their stools, the band played for what seemed like hours. Their sonic epics are some of the most unique you’re likely to hear, at once classical and nouveau gaze in nature. They have this ability to captivate like few other bands I’ve ever seen live, and their songs are at times nothing short of transcendant. They make a sheer wall of noise feel bewitching, and that’s a pretty special gift to have. It was a fine performance, make that a pair of fine performances.

mp3: Cold Day From The Birdhouse (The Twilight Sad from Fourteen Autumns And Fifteen Winters)

100 Shows of 2010 - #27: Richard Cheese @ 9:30 Club’s 30th Anniversary Party, 5/30/10

In this transient, fast-paced world of ours, there’s not a whole heck of a lot that’s built to last. I’m thrilled to say that one rare, special institution exists in this city of ours, the 9:30 Club. And 2010 just so happens to be the 30th birthday of the club that is pretty much peerless the world over. For my part, I’ve been going to shows at the 9:30 since 1997, so I’ve got 13 years of love for this venue in my lifetime. A little paragraph can’t do the place justice, but if you’re a local (or even if you’re a tourist) and haven’t yet been to a show at the 9:30, do yourself a favor and just do it, as they say at that athletic apparel brand. Gushing aside, the 9:30 has been doing some serious celebrating lately, and one such party was the invite-only 30th shindig that I was lucky enough to attend. Featuring a hearty dose of those delicious 9:30 cupcakes, rail booze, and the outrageously hilarious lounge stylings of Richard Cheese, it was one heck of a good time.

MINI RECAP: Richard Cheese = Festively Saucy! Overall score: A.

Richard Cheese actually pulled double duty the day of the party, doing an early show for the masses earlier in the night and then emerging once more for a set of special tunes for the partygoers. Flanked by his oh-so classy backing band, Cheese took the stage swaying ever so slightly, alluding to the fact that we guests weren’t the only heavily-imbibing folks in the building. And as soon as he opened his mouth on the first song, it was sheer, unadulterated silliness. The set was a special collection of songs by bands that have graced the stage over the club’s 30-year history (and multiple stages), and Cheese chose to lead off with the Nine Inch Nails classic “Closer”. I assure you, you haven’t really lived until you’ve heard Trent done in a swankily silly lounge style. It took until the next song, “Brass Monkey” by those wily Beastie Boys, for me to stop laughing hysterically.

The set also included a Slipknot gem (loved the line “people equals shit,” so very classy), “Ice Ice Baby”, and “Billie Jean”, which was really the only bone of contention in the whole Cheese-ian set. I would have chosen perhaps “Rock With You” as my MJ song of choice, but to each their own. “Gin & Juice”, “Buddy Holly”, and a cringe-ingly good yet somehow inappropriate feeling “My Neck My Back” also filled the set. Cheese brought some ladies up to dance to his cover of Sir Mix-a-lot’s classic ode to the rear end, and the civilized crassness of the entire thing was just too entertaining.

For some reason, having Richard Cheese play the party makes perfect sense. And I loved the idea of pulling a set from club performers of years past. How many times might one hear Snoop Dogg and Weezer and Vanilla Ice in the same set? Probably not all that many. And Cheese’s debauched, light-hearted lounge stylings gave the party some serious comedic relief. It was a great night, and between the vodka and the cupcakes and the cheese (excuse me, Cheese), it was quite a party. Happy 30th, 9:30! Here’s to 30 more.

mp3: Ice Ice Baby (Richard Cheese & Lounge Against The Machine from Silent Nightclub)

Live Review: Sia, 9:30 Club, May 4, 2010

Ah, Sia. What more can i say about my favorite musical pixie? Last night, she came through town on her latest tour, this time to promote her upcoming We Are Born. As always, she charmed the crowd with her whimsical, playful on-stage banter before repeatedly knocking us on our collective ass with her powerhouse vocals. Which, of course, is what makes the experience the good time it always has been.

Now, i've been catching Ms. Furler for some years now, the first of which was with her in the large Zero 7 touring band of the early Aughts. Even then, she was bouncing off the walls liked a coked up chipmunk (but in the best way possible, of course). While she's not with Zero 7 anymore (or at least right now), she's seemingly standing completely on her own stage for the first time in her career.

To begin with, the crowds have grown considerably since her last couple of jaunts through town. For her last two shows, i doubt there were 500 people there. Last night was damn near capacity. Not that it makes any difference to me, but the demographics of the audience have swayed, too. Suffice to say, my heterosexuality was in the minority last night, so a big shout out to my peeps of the Rainbow Nation. The main difference in that lay in the fact that i haven't heard that much screeching since i was in grade school.

Perhaps more tellingly, there were no Zero 7 songs this time around. In the past, there's always been at least "Distractions," if not others, mixed in with Sia's own material. While there were a couple of covers last night (the Kink's "I Go to Sleep" and Madonna's "Oh Father"), these are both tracks she's made her own by virtue of covering them on her own CDs.

This did nothing to diminish the evening, however. The crowd seemed to get into the newer material, while damn near exploding for her better known stuff. During the pause at the end of "Breathe Me," the crowd got so loud that Sia said afterwards that we had beaten out the heretofore champion crowd at Coachella in terms of sheer noisiness.

And then there were the little flourishes that take the show to the next level. The ample chatter between tracks delved from accepting and donning gifts from the crowd to admonishing herself for cursing when she knew there were kids in the audience. She also got into some quick "bus song" jams, including "I'm Gonna Pee on You" and "I Need Strong Shoes for my Feet." Oh, and she started the show wearing a lit "penis hat" (scroll down to see for yourself) and closed wearing giant wings that blew bubbles into the crowd.

Now if that's not a good time, well, you're just an ass.

mp3: Thistles (Zero 7 B-Side from Throw It All Away)

mp3: Lentil (Sia from Lady Croissant)

mp3: Breathe Me (Sia from KCRW performance)

And for those of you that are awaiting her upcoming CD as much as i am, head on over to Sia's homepage to watch videos for six new tracks. Like, now, Daddy-O.

100 Shows of 2010 - #13: Black Rebel Motorcycle Club @ 9:30 Club, 4/5/10

Ah, the number 13. Unlucky for some, but for others, pretty dang fortunate. It seems appropriate, somehow, to have the divine Black Rebel Motorcycle Club as the 13th show in the 100. I've always had good luck seeing them live, never once have they let me down, and in fact they always leave me feeling even more satisfied than I had imagined. And so, when a last-minute invite came my way, I couldn't resist. After all, BRMC has been one of my favorite bands for many years now, and how on Earth could I pass up a chance to see them touring new record Beat The Devil's Tattoo? And so it was that I found myself, with plenty of other happy folks, soaking up the fuzz and the drone and the noise on a Monday night at the world-famous 9:30 Club. And it was magic.

MINI RECAP: Black Rebel Motorcycle Club = Scorchingly Sexy Rock! Overall Score: A.

I've been fortunate enough to see BRMC on many stops along their road, from the days touring their debut B.R.M.C. to the glorious, sultry Howl era to the breathtaking Baby 81. It's been a long, wonderful trip, and their newest incarnation (along with new full-time drummer Leah Shapiro) is just as fantastic as the others. And of course, not only do I find their music fucking awesome, I also harbor a major crush on Peter Hayes. Just another reason to love 'em, folks.

As per recent BRMC shows, they pulled fairly equally from their (non-instrumental) records, which as a fan of just about everything they're recorded sure did make me happy. Their blazing set was nearly 20 songs long, and they were on the 9:30 Club stage for just about 2 hours. In that span, I witnessed a band at the top of their form. Their sexy, pulsating rock veered as it does from fuzzy nouveaugaze to brilliant Bible Belt blues to driving, confident rock. I couldn't take my eyes off of the three of them, (alright, perhaps when a strobe light was burning my retinas) and they near about knocked me off my feet. Old favorite "Red Eyes and Tears" was given an extended treatment, and sounded even louder and fuzzier than the most excellent album version, while new favorite "Beat The Devil's Tattoo" was also a highlight, the husky smokiness of Shapiro's vocals blending well with those sultry pipes of Hayes and Robert Turner.

The set also included scathingly fierce versions of "Love Burns", "Berlin", "Weapon of Choice", "Ain't No Easy Way", "Spread Your Love", "American X", "Rifles", and a very noteworthy rendition of another favorite, "White Palms." Peter's guitar on that song absolutely kills me, it's so deliciously vicious as he defiantly dares "Jesus I dare you to come back." It's an intoxicating effect, and it never ceases to seduce.

The entire set was deafening, and might be the loudest I've ever heard them. It was a sultry night inside the club (thanks to the unseasonable warmth outside and subsequent half-hearted attempt at AC), and the humid feeling was the perfect backdrop for the show. There's a devil-may-care vibe at BRMC shows, a feeling that something shambolic is right beneath the surface of their nearly perfect play. Hot damn, I love this band.

mp3: Red Eyes and Tears (Black Rebel Motorcycle Club from B.R.M.C.)

mp3: Long Way Down (Black Rebel Motorcycle Club from Beat The Devil's Tattoo)

100 Shows of 2010 - #11: Nada Surf @ 9:30 Club, 4/2/10

There’s a small handful of bands that I look to for consistency, bands I trust for their awesome reliability, their dependable radness. They’re like the Old Faithfuls of music, the ones that never ever ever let you down. The ones that rule the school any day of the week, and like cockroaches might just outlive us all. Nada Surf belongs in this bunch, and they proved once more that when it comes to throwing a killer live show, they’re hard to beat.

MINI RECAP: Nada Surf = Kings Among Men! Overall score: A.

I was pleased to see that the 9:30 Club was suitably full for the show, so much so that it felt a little steamy up in the balcony. But what’s a few beads of sweat among Nada Surf-loving folks? When the supplemented trio (along with a couple of friends) took the stage it was to rapturous cheers from the packed house. I could see their grins from the tip of the club, as they enthusiastically proclaimed, “Awesome” and, “It’s nice to be back.”

Hours of top-notch music ensued from those indie stalwarts, as you might expect. They pulled from every corner of their catalog, mixing in covers from their new record with old favorites. “Hyperspace,” one such oldie, off the oft-overlooked album The Proximity Effect, was a welcome inclusion into the set, and like most of the more uptempo songs was good and poundingly loud. The inclusion of the extra guitar and keys made the sound even bigger, meaning it felt like you were being totally wrapped in their glorious noise. I inwardly squealed like a little schoolgirl anytime the band launched into a song from my favorite Nada Surf record, Let Go. It’s such a classic album, and the songs therein are so stunning and intricately constructed. “Killian’s Red” is one of those songs, and I will forever be smitten with that dark, stormy bass and the tantalizing guitar, not to mention Matthew Caws’ warm, distinctive voice. I’ll never be talked out of thinking his is one of the finest voices of a musical generation. The band tended to throw in extended jamming at the end of certain songs, adding chunky guitar and very heavy drums on the end of the gorgeous “Killian’s Red.”

“What Is Your Secret?”, from The Weight Is A Gift, immediately followed, and it was during that song that I wrote a note to myself about how Nada Surf live sounds not record perfect but live perfect, which is totally different. We all know that anyone can sound good in a studio, but what sets bands apart is their ability to be amazing live. Not just good, but amazing. And Nada Surf, well, they’re pretty much amazing live. “Can you hear the 90s influence?,” a dude behind me asked his date. I smirked, and the band began to play a breathtaking rendition of “Your Legs Grow,” one of their best ballads. It’s a song that could launch a thousand lighters, as could the painfully lovely “Blonde on Blonde,” which came a little bit later on in the set. Just when I thought it wasn’t possible to love Nada Surf anymore, they went and covered one of my all-time favorite ever songs: Depeche Mode’s “Enjoy The Silence.” Introduced as their “goth-disco song,” it was totally divine. After that it was a solid run from Let Go, “Blizzard of ’77,” “Neither Heaven Nor Space,” Hi-Speed Soul,” and “The Way You Wear Your Head,” and each song was flawless. Which is pretty much the way you could describe the entire set.

I went home a very, very happy girl last Friday night, my friends. If, by some chance you haven’t yet seen Nada Surf live, you really owe it to yourself to amend that situation as soon as you can. There aren’t many bands around that you can count on, but you can definitely count on Nada Surf. I love that band to smithereens, and always will.

mp3: Killian's Red (Nada Surf from Let Go)

On The Soap Box

(Ed. Note: We normally steer clear of anything political 'round these parts. Personally, i think they're all in cahoots, towards whichever side of the pendulum they claim to swing. i received a message earlier today from the 9:30 Club, though, that most likely impacts nearly all LET readers--the proposed merger between Ticket Master and Live Nation. Since they've gone to all the trouble of taking legitimate steps towards making sure this doesn't happen, i'll leave it to those hep cats to explain. Final word--i wrote and sent the proposed email suggested below. If you're tired of getting charged exorbitant fees to hear live music, you should do the same.)

Concert Fans Beware!

There’s a train wreck about to happen and consumer groups say YOU will be the victim if the two most powerful corporate interests in the live concert business get their way. But you can help stop the merger of Ticketmaster and Live Nation. The government needs to hear from music fans now. Tell the Department of Justice that you’re against these monopolies amassing illegal power over consumers, before it’s too late.

antitrust.complaints@usdoj.gov

As a concertgoer you have already felt the pain, and if Ticketmaster and Live Nation get their way, it’ll get worse. In the last 12 years, since Live Nation and its predecessor started its widespread takeover of the concert industry, concert ticket prices have shot up 82% while the consumer price index has gone up just 17%*. We are concerned that if the two concert industry behemoths, Live Nation and Ticketmaster, are permitted to merge, the variety and quality of artists coming to local venues will be affected, and your costs could rise further and faster.

Five of the nation’s most prominent public interest groups called on the Department of Justice to block the proposed merger of Ticketmaster and Live Nation:

“Consumers deserve a fair deal in the entertainment marketplace, not the fewer choices and higher prices that would result from this merger,” said Susan Grant, Director of Consumer Protection at Consumer Federation of America

“This merger is an insult to both musicians and consumers,” said James Love, Director of Knowledge Ecology International

“We cannot envision a remedy that would ease this chilling impediment to competition… In the absence of other effective, expeditious remedies, the proposed transaction should be prohibited.” American Antitrust Institute White Paper

As described by Senator Herb Kohl (WI) in the House Antitrust hearing, “This merger will not only expand Ticketmaster’s control of the ticketing market by eliminating a competitor, but it is also creating an entity that will control the entire chain of the concert business – from artist management to concert promotion and production to ticketing and ticket resale.”

“This merger would be a disaster for consumers. Nothing short of blocking this takeover of the ticket market by two industry behemoths will be acceptable,” said National Consumers League Executive Director Sally Greenberg.

“As president, I will direct my administration to reinvigorate antitrust enforcement. I will step up review of merger activity and take effective action to stop or restructure those mergers that are likely to harm consumer welfare…,” said Senator Barack Obama when he was campaigning for the presidency.

If you agree with the consumer groups and lawmakers, make a difference and LET YOUR VOICE BE HEARD NOW.

Send a message to the Antitrust Division of the Department of Justice telling them you support President Obama’s campaign promise to protect the American public from abusive monopolies.

antitrust.complaints@usdoj.gov

To learn more, check out:

ticketdisaster.org

Signed,

The 9:30 Club, I.M.P., Merriweather Post Pavilion, Jam Productions, Metropolitan Talent, Another Planet Entertainment, Frank Productions, Stone City Attractions, Rams Head Live, The Black Cat ... and independent concert promoters and venue operators nationwide.

*Study by Princeton University economist Alan Krueger

mp3: Ticket Man (The Kills from No Wow)

mp3: Political Song (Brock, live at IOTA, 2-9-04)

I'm Quitting My Job to Become a BJMhead

Ok, so, not really. But after the pair of Brian Jonestown Massacre shows I went to this past weekend/week, the idea of leaving work behind and following them around the planet on tour seems like a pretty darned good one. Anton Newcombe is my pied piper...

My enlightenment began the evening of Saturday, April 4th, at the Trocadero in Philly. My friend and I did our drinking beforehand, so as to not get stuck in the drinking pen (pardon me, bar area) the Troc utilizes to keep their alcohol in check. Whatever. Lame venue policies are not important. What was/is important is that I was on pins and needles to finally see the Brian Jonestown Massacre for the first time ever. From our vantagepoint at the side of the stage under the balcony overhang, we had a great view of everyone (save for Anton, most of the time). So when certain people (Matt Holllywood and Joel Gion) strolled and sauntered onstage, I had the perfect view, and subsequently nearly fainted from the sheer bliss of it all. It was, without question, the best show I've been to this year (excluding SXSW, of course). With the return of so many original(ish) members to the lineup, the songs sounded as they were meant to sound: thorougly beautiful. And really, I can't think of any other contemporary band that can pull off having four, sometimes five (count 'em: Anton, Matt, Frankie, and Ricky, with Rob splitting time between keys and guitar) guitarists and not sound like overindulgent assholes, or like a jumbled mess. I had been prepared to see just about anything at the Troc that night, but I hadn't quite been ready for how good the band was going to be. If you were to close your eyes and imagine the most perfect Jonestown gig ever, you might think of the Philly show. Anton's days of freaking out seem to be a distant memory; he even complimented the crowd on how "handsome" we all were. "Anemone," "Who?", "Got My Eye on You", "Not If You Were the Last Dandy on Earth", "Oh Lord", and "Servo" were all part of the extensive set. And hearing nearly a third of my favorite BJM album, Take It From the Man!, was glorious. I think I was smiling for the entire two hours I was at the show. Everyone there, band included, seemed to be having a great time. It was nigh on perfect, friends. So perfect, that I decided to scrap my plans to see Neko Case here in Richmond on the following Monday, and instead hit the 95 trail and see the BJM at the lovely 9:30 Club.

The show on Monday, April 6th, was just as perfect. The crowd was, astonishingly, even more raucous than in Philly. And I for one didn't expect the place to be as packed as it was, though it certainly made me happy to see all those smiling faces. The setlist featured many similar songs to the Philly show, though in a far different order. I had a wonderful vantage point for the show, up on the balcony to the right of the stage. I could see everyone well, including Anton, this time. They awed me once more, and I wondered to myself how it was possible for one single band to be so freakishly talented. Song after song after song, every single note was perfect. I also got a kick out of the band's collective blatant disregard for the no-smoking in DC thing, as band member after band member lit up and puffed away. Seeing Joel doing his thing with the tambourine and a drooping ciggy made my night complete. And then, after just over two and a half hours later, it was over. But it was sublime, friends. Sublime. And by the way, add Matt Hollywood to my list of crushes...

We've all seen "Dig!" by now. We're all aware of how shambolic this band used to be, how it teetered on the brink of implosion (not to mention greatness) every other day. But we've also seen how fucking transcendant this band can be when they're together. For my money, they're one of the best live bands out there, and one of a very exclusive list of bands that would induce me to drive all the way to Philly and back in a 24-hour span. And in a perfect world, I'd quit my job and follow them around like one of those wacky Phish fans. Just minus all the patchouli.

DC Set:
1. Whoever You Are
2. Vacuum Boots
3. B.S.A.
4. Nevertheless
5. When Jokers Attack
6. Sailor
7. Who?
8. Got My Eye on You
9. Servo
10. Yeah Yeah
11. That Girl Suicide
12. Wasted
13. Hide And Seek
14. Wisdom
15. Not If You Were the Last Dandy on Earth
16. A New Low in Getting High
17. Anenome
18. Nailing Honey to the Bee
19. Here It Comes
20. Prefab Ambulation
21. Telegram
22. Serious Matters
23. Oh Lord
24. Satellite
25. Swallowtail

And as a special treat, a little Brian Jonestown Massacre for you, live and in person. Enjoy.

Live Review: Hot Chip @ 9:30 Club, October 8

I'm pretty sure I could see Hot Chip live every night for an entire month without getting bored. That might not seem like much of a declaration, but coming from a rather fickle Gemini notorious for bouts of boredom it's quite a statement. After all, it's not often that I'm willing to make the rush hour drive to DC during the middle of the week, but for Hot Chip the drive is but a small price to pay. My third Hot Chip show (and second at the 9:30 Club) thus far was as breathtaking as the first, as exciting as the second, and quite possibly the best of the three.

Every Hot Chip show I've had the pleasure of attending, be it in the friendly confines of the 9:30 or the blazing heat of the California desert, has had the same feel; the pre-show air has been crackling with excitement, alive with anticipation. Not only that, but people seem genuinely happy at Hot Chip events. I know I'm happy to see them, and it's nice to feel like others share that joy.

The stage configuration proved to be a complete opposite to my first Hot Chip show at the club. Instead of that initial show's lineup of Hot Chip-ians in a row, with their respective Casios and other electronic aides in front of them, tonight as at Coachella the band was set up in a more standard format, that is to say with plenty of instruments and plenty of room to bound and dance all over the stage.

In terms of the show itself, well, I might be blinded by my love of Hot Chip here but I don't think it possible for them to have been much better than they were. From the ferocity of the opening "One Pure Thought" to the cheekily introduced ("this is one some people might know") crowd favorite "Over & Over" to the fantastic end mashup of the Sinead O'Connor smash "Nothing Compares 2 U" with the band's own slow jam "In the Privacy of Our Love" the band romped their way through it all with aplomb and sizzle. Throw in a wicked new track (possibly called "Artifacts") and the inclusion of one of my all-time favorites "Down With Prince" and you've got all the ingredients you might need for a perfect night on the dancefloor. And I'm sure I've said it before, but really, any band that uses the lyric "I'm only going to Heaven if it feels like Hell/I'm only going to Heaven if it tastes like caramel" is a winner. I left the 9:30 safe in the knowledge that Hot Chip had just put on one of my favorite sets of the year.

I'd be willing to go out on a limb and call Hot Chip one of the best damn live bands on the planet right about now. Sure, they do a little more knob-twiddling than the other bands that get my blood pumping, but I'm hard-pressed to think of a band that has the sheer delight factor that Hot Chip does. If it's a smile your face is in need of, Hot Chip might just be the perfect prescription.

[photo by Megan Petty]

Live Review: Darker My Love @ 9:30 Club, September 22

Teensy little confession here: I was kinda looking forward to seeing Darker My Love more than the band they were opening for. And that’s despite the fact that the Dandy Warhols has been one of my favorite live bands for over ten years now. But something about this group of dudes had me all sorts of fascinated and entranced, and I was counting the days til I could finally have an in-person experience with their sonic psych-outs and killer retro-heavy, rip-roaring riffs.

The day, September 22, finally arrived. After the weekend up in the Catskills for All Tomorrow’s Parties, I somehow summoned up a few more hours’ worth of energy and managed to keep awake for the highly-anticipated Darker My Love set. And may I just say, I sure am glad I did.

It was a set that flashed before my eyes and ears so briefly, and by the time it was over I was craving more, desperately in need of another fix. The projector in the balcony near me displayed swirling liquid, and the simple yet effective idea was a perfect backdrop to Darker My Love’s all over the place sound and tendency to late-60s homages. The band was superb, both affable in banter and impressive in performance. Listening to the increasingly appreciative noise coming from the huge crowd, I’m pretty sure I’m not the only one with those thoughts.

The night was made for me as soon as the first notes of “Two Ways Out” filled the air, but the entire set was dynamite. The sharp, attention-grabbing haze of “Talking Words” was particularly excellent as well, but the same can be said for pretty much every other song Darker My Love undertook. It was a blinding flash of brilliance, and it was over far too soon. They and their aural bliss made me forget how tired (and hungover) I was, and anytime a band can do that you know they’ve gotta be pretty darned fantastic. If you haven’t quite figured it out yet, go see Darker My Love. As many times as you possibly can. They’re touring again towards the end of the year, and you can bet your sweet ass I’ll be there. I hope you will be, too.

[photo by Timothy Norris, via the band’s Myspace]