Entries tagged with: Webster Hall
by Bill Pearis
The La's in 1990
Liverpool legends The La's will play their first American show in 21 years on March 12 at Webster Hall. Tickets ($25) go on sale Thursday (12/22) at noon. The show is part of the first-ever NYC extension of Liverpool Sound City festival. More bands are playing, and the line-up should be announced early January.
With songs like "There She Goes," "Timeless Melody" and "Way Out," one could argue that '90s Britpop started with the La's 1990 eponymous debut, an album that frontman/songwriter/perfectionist Lee Mavers didn't even want released. It was finished by producer Steve Lillywhite and disowned by the band, despite near universal acclaim. It's the only album Mavers made as the La's though there are enough demos, different versions of the LP's songs with other producers, and live tracks floating around that they filled a box set.
I don't think the La's really toured America the first time around, just some summer festivals. (Though my memory may be fuzzy about that.) Mavers reformed the La's a few times over the last decade, most recently with original bassist John Power who has since left again to reunite his post-La's band, Cast, whose new album is out in February. It's unclear who the members will be in March.
The NYC edition of the Sound City is part industry conference and part music fest. From the initial press release:
The inaugural New York Sound City (NYSC) will take place on Monday 12th March 2012 as a one day and night music event.The live show will feature three UK bands (La's included) and three bands from the U.S. Again, details on that to be released next month.
Designed by Sound City (the team behind innovative boutique events in Dubai, Norway and their home city of Liverpool) NYSC will feature key public and media partners from both the UK and US.
"Sound City has established itself as the coolest city centre festival and business conference in the UK. In the short space of 4 years we have delivered our bumper boutique events in Norway, Dubai, Texas and our home city of Liverpool. The UK businesses, individuals and artists we have showcased and assisted have gone onto generate over £12 million of real money for the UK music and digital economy. We do not mess about. For us to partner up with New York is the next logical step. Liverpool and New York have always shared a special relationship with each other. Two of the worlds biggest cities and both synonymous with art, music and pop culture. This is the first announcement in what is going to be an exciting time for the growth of our strong brand." David Pichilingi CEO Sound City
Click through for some classic La's videos and live performances.
photos by Amanda Hatfield
The Antlers recently got back from Europe and played their largest hometown show yet at the sold out Webster Hall on 12/10 with Canadian band Suuns. The majority of The Antlers' set was material from 2011's Burst Apart, which they played almost every song off of, but though it was given less attention at the show, a CMJ reviewer believes, "the Antlers' strongest album when performed live is Hospice, not Burst Apart." To quote Amanda, the Antlers "totally owned that room. Was amazing."
NYCTaper recorded the show and you can download a free zip file of the files at their website. More pictures, videos and setlist below...
photos by Dana (distortion) Yavin
The Black Keys played Webster Hall last night (12/6), a celebration of their new LP El Camino out NOW (as you may have noticed from the ads on this site today). Though the sponsored-by-Southern-Comfort show was small (compared to their next one at MSG anyway), their set was not, dipping deep into their back catalog, as you already know if you were not at Lana Del Rey and one of the few who got a ticket, or one of the many who watched it online....
The set list covered the whole of Auerbach and drummer Patrick Carney's journey through and out of their roots, going back all the way to "I'll Be Your Man" on their 2002 debut, The Big Come Up, and stopping off at "Your Touch" from 2006's Magic Potion. The history lessons highlighted how far the duo has come from the binary stomp and grind of their early records to the trailer-park T. Rex effect of "Everlasting Light" on 2010's Brothers and the crossed wires of glam-era David Bowie and the MC5's guitar chaos in El Camino's "Gold on the Ceiling." The inclusion of "Chop and Change," a garage-noir outtake from Brothers that ended up on the Twilight soundtrack, Eclipse, proved they have plenty of that adventure to go around.What did you think?
For this show, arguably a preview of the band's 2012 U.S. arena tour, the Black Keys flipped the script of their Brothers live act. Instead of opening and closing as a duo, Auerbach and Carney spent most of the night working with their expanded lineup - Wood and bassist Gus Seyffert - and slimming down to a duo for a mini-set in the middle. In either format, the Keys still rely on simple knockout dynamics: Auerbach's spidery guitar intro (a la Keith Richards in the Rolling Stones' "Stray Cat Blues") into the climbing grind of "Girl Is on My Mind" from 2004's Rubber Factory; the primary drive of Carney's kick drum in the crunch and surge of El Camino's "Dead and Gone." -[Rolling Stone]
If you missed them, make sure and catch The Black Keys at the slightly larger Madison Square Garden on March 12th as part of their US tour with Arctic Monkeys. Tickets are currently on AMEX presale and go on regular sale Friday.
More pictures from Webster Hall and the setlist below...
M83 @ Webster Hall - 11/22/2011 (via balirsmith)
M83 is in NYC to play what are probably two of the most in demand shows (that are on my radar) since Radiohead at Roseland. Tonight (11/23) it's at Music Hall of Williamsburg. Last night was Webster Hall. That show's setlist with more Instagrams from the night, below...
photos by Amanda Hatfield
Deer Tick @ Webster Hall
Deer Tick hit Webster Hall last night (11/20) with Guards and Thomas Hardy (of Dead Confederate). it was the last date on a larger tour that kicked off in October and hit Reggie's in Chicago along the way, and it was probably the largest headlining show on that tour (and definitely much bigger than Death By Audio). Here are some pictures from Webster Hall, though none of the destruction (aka broken instruments) that ended the two hour show (Deer Tick is always good for ending things in style).
Two days earlier, the same lineup hit Ithaca where someone wrote...
Deer Tick's set was not as much a performance as much as it was a time for both fans and players to come together and enjoy each other's company through their love for music. Deer Tick was not playing and singing for us; they were playing and singing with us. This could not be articulated as accurately as when McCauley led a sing-along on opening number "The Bump," wailing "I suggest you move/We're full-grown men/We act like kids." This youthful playfulness that the band set forth from the get-go marked what would become an evening of a shared joy between the band and the crowd. But as much as both the musicians and the fans seemed to be enjoying themselves, the band may have overstayed their welcome. Even with a set that clocked in at over two hours in length including Deer Tick's set, some solo tunes from McCauley, and new material with a freshly formed supergroup featuring McCauley and opening acts Thomas Hardy and the Guards, the boys of Deer Tick seemed to have enjoyed themselves a little too much....The dates were in celebration of Divine Providence, the Deer Tick's new LP out now on Partisan Records.
-[Cornell Daily Sun]
When the Webster Hall show was first announced, I'm pretty sure Virgin Forest were listed as opener. I'm not sure what happened there, but today another Virgin Forest show was announced and it's happening at Glasslands on 12/7 and Ian O'Neil of Deer Tick is opening. Tickets are on sale.
More pictures from Webster Hall and a video of the Deer Tick/Guards/Thomas Hardy supergroup (see above), below...
Cults at ATP NJ (more by Dana (distortion) Yavin)
NYC indie pop duo Cults are currently on tour in the UK, and after playing the ATP there in December, they will return to the US and headline Webster Hall on January 19. Tickets go on sale Friday (11/18) at noon with an AmEx presale starting Wednesday (11/16) at noon. Later that month they head to Australia.
Cults recently performed for Spinner's Interface sessions. The band were interviewed and they performed "Go Outside," "Abducted," "You Know What I Mean," and "The Curse." You can watch videos of the whole thing at Spinner.
All tour dates below...
photos by Tamara Porras, words by Klaus Kinski
Kurt Vile @ Webster Hall
Last Friday was a pretty important day on three fronts. First and foremost, it was Veteran's Day. I won't bother going into one of my usual tangents and pontificate on the importance of honoring America's servicemen and servicewomen past, present, and future and how they have the scariest fucking job on the planet. Nope. Not gonna do it. Instead, I will jump to the second "important" aspect of last Friday. I put important in quotes because the element I speak of is actually not very important at all. In fact, it's quite trivial and lame and I pity the infantile adult mind who actually expended any energy in reveling in the fact that last Friday was 11/11/11. "OMG ALL THE NUMBERS OF THE DATE ARE THE SAME TODAY EVEN THOUGH THE FIRST TWO NUMBERS OF THE YEAR ARE ACTUALLY 2 AND 0 droollllllll." Yawn.
More importantly, Friday November 11th was important on a third front; it was the day that I finally got to see the great Kurt Vile and the Violators at Webster Hall. I know what you're saying; "But Klaus, you idiot! Kurt's played NYC like A THOUSAND TIMES! Kill yourself already!" And you're right, he has. And I am. And I won't... You see, Kurt is one of those dudes I have literally been unable to see for one reason or another any time he's played NYC. And I don't mean "literally" in the completely non-literal sense people use that word nowadays; i.e. "That joke was so funny I literally shit my pants" or "Yo momma's so fat when she fell into the Grand Canyon she literally got stuck". I mean I have literally been unable to see him. Ever.
Apparently the show wasn't sold out but the place seemed totally packed. And I am pretty sure Webster Hall broke the world record for having the most fog and hair in one place at one time that night. Holy smoke ring for my halo, Batman. Upon entering, I was handed a free commemorative Kurt Vile 11/11/11 45 RPM record which I will never play because I don't have a record player, but which I thought was a super cool thing to give out. I entered the live room about 5 minutes before Kurt went on so I missed the openers. How were they? Kurt and the Violators were absolutely incredible. They played about 16 songs, including one encore, and the crowd was just eating it up.
In the early part of the show, highlights included "Jesus Fever," "Runner Ups," and "Ghost Town." Kurt kicked it up a notch around the halfway mark with a pounding rendition of "Freak Train," which kicked off a fantastic second-half. After solo performances of "Pepping Tomboy" and "My Best Friends," The Violators closed out the main set with two more Halo songs "Puppet to the Man" and "Society is My Friend." After a brief encore break, Vile came out with drummer Mike Zanghi for a beautiful performance of "Baby's Arms." The full band then closed out a great 90-minute set with two songs from the So Outta Reach EP, "Laughing Stock" and a cover of Springsteen's "Downbound Train." -[The Swollen Fox @ the Philly show]Kurt has a very monotone voice that doesn't divert very far from its point A, but when you add it to such massive, and plodding melodies the experience is intense. The room was super dark and, as I mentioned, very foggy, with very little in terms of stage design and lighting. It made for a very dark and profound experience. I have a very limited musical scope these days, but Kurt and his Violators really hit me in a way that very few bands do. It has all these elements of grunge, 70s rock, jamminess, hairiness, moodiness, and darkness and they're all blended together and served as one unbelievable and unique musical experience. Fuck yes I will try to see him literally every time he hits NYC.
The NYC show fell the day befre Philly and three days before the release of Kurt's new So Outta Reach EP.
Support at Webster Hall came from from Widowspeak and The Young who also played Maxwell's with the Sonics the next day. Pictures from Webster Hall adorn this post.
If you missed Widowspeak (like Klaus did!), make sure to catch them at the BrooklynVegan Holiday Party on 12/17 at Bowery Ballroom with Twin Sister and Ava Luna. Tickets are on sale, and for a paltry $8! (stay tuned for more details).
More pictures from Webster Hall and Kurt Vile's setlist, below...
words & photos by Keith Marlowe
Scratch Acid @ Webster Hall
In lieu of a review of Monday night's Scratch Acid show at Webster Hall, their first NYC show in many, many years, writer/photographer Keith Marlowe presents this open letter to the band's frontman:
Dear David Yow,
I love you. I've always loved you. I've never felt about other singers the way I feel about you. You gave me "HEAD" with the Jesus Lizard, and I want to return the favor. I want to marry you and have your babies. We both hit the sauce hard, so they would probably be all crazy and hideous, with foreheads so huge we could attach windshield wipers. If we ever got bored with our deformed skull babies, we could give them to some shitty no-talent shock-rock band like Slipknot to use as stage props. Or NAMBLA. I don't care, really. Do you think any of the dudes in NAMBLA have fetal-alcohol-syndrome fetishes? Let's find out together.
I wouldn't expect you to be monogamous, because I figure you treat lovers like you do bands. You've been in long-term relationships with Scratch Acid, the Jesus Lizard, Qui, and had one night-stands with the Melvins, Helmet, Shellac and Cop Shoot Cop, among others. I've caught you numerous times when you've flung your body violently into the audience, so you can trust me to catch you during tough emotional times too. I'll always be there for you, no matter what kind of project you're involved with, even that western you acted in starring the Insane Clown Posse.
It's not just about your music either. I'm very physically attracted to you. I've seen your dick a bunch of times over the years, and I think it's super hot. You make great art too, and if the money ever ran out we could live off all the free booze and cheese at your openings, like the one you just had at the Fuse Gallery right here in NYC.
I love you David, and I hope that someday, you'll love me back. Because that would be the "Greatest Gift" of all.
Noveller, who has opened for Jesus Lizard in the past, was added as a last minute opener to the NYC show. More pictures and the setlist, below...
Twinkling blue lights covered the backdrop of the stage like stars when I arrived at Webster Hall last night (11/3), but as if to mirror the sparse simplicity of opener Cate Le Bon's brief solo set, everything faded to black when the Welch singer-songwriter appeared carrying a single electric guitar. Themes of heartbreak shaped Le Bon's songs, injecting a note of sadness into her deep, rolling voice. Though much of her older material is in Welch, Le Bon sung in her native tongue just once last night - to cover the Gruff Rhys song "Pwdin Wy 2."
Though Le Bon later lent backing vox to St. Vincent, the contrast between the performances of the two female artists was stark. The lights and effects were minimal for Cate Le Bon, but for the main act, columns of rainbow-colored light shone through the thick, machine-generated fog. A master performer, Annie Clark easily matched the intensity of the light show with her explosive guitar solos and urgent lyrics, often introducing slight deviations not found in the recorded versions of her songs to keep things interesting. Though covered in shadows for the majority of the evening, her backing band of 3-4 was solid.
Clark drew heavily from her most recent album, the excellent Strange Mercy, omitting just one song ("Hysterical Strength"), but she also peppered her set list with a handful of older songs, like "Marrow" and the buoyant "Actor Out of Work."
Apart from her sheer talent - Clark's voice was flawless, what made her performance so compelling was her ability to channel both her sweet and kick-ass sides. One minute, she was charming the audience with stories of chatting up eccentric bar tenders and sneaking into cemeteries to chase deer, and the next she was crowd surfing while playing the guitar. I couldn't help but chuckle a bit at the appropriateness of the title of her chosen cover, The Pop Group song, "She Is Beyond Good and Evil." At one point, a debate broke out in the audience:
"Shred it Annie!" someone yelled.
"She doesn't shred!"
"Yes she does!" a third person quickly countered.
"What is this, a live Twitter feed?" Clark joked.
I do believe this debate was resolved several times over.
Clark wrapped her show with a two-song encore of older songs, ending on "Your Lips Are Red," the only song from her debut album that made the cut. Annie also stage dove during the song, continuing to play on the crowd, but then back on stage in time to sing "your skin's so fair it's not fair."
Despite the annoying strobes that started to take over as the night progressed, St. Vincent's show will undoubtedly make it into my top ten list this year.
St Vincent's tour comes to an end in Boston tonight, but you can catch Cate Le Bon again Monday at the Rock Shop.
More pictures and the setlist from Webster Hall, below...
We Were Promised Jetpacks at BV-CMJ (more by BBG)
Scotland's We Were Promised Jetpacks spent their Mischief Night (10/30) at Webster Hall in NYC. We invited the band's frontman Adam Thompson into a studio earlier that day to record a session for BrooklynVegan (stay tuned). He told us it was maybe the largest headlining show of their career so far. It was definitely their largest in NYC, and much larger than the show they played for us at Knitting Factory during CMJ. How was it?
Opening at Webster were Royal Bangs and Bear Hands who are still on tour with the Jetpacks. They're making their way towards Austin for Fun Fun Fun Fest where WWPJP will play the fest while BH and RB will link up with Dom & Pujol for a FFF Nites set on 11/6.
Bear Hands return to NYC and headline Music Hall of Williamsburg on 12/16 with guest Fort Lean. Tickets go on AMEX presale at noon on Wed (11/2) and regular sale on Friday. Fort Lean will ALSO be at Le Poisson Rouge on 11/26 as part of the 2nd Annual Voidwell Homecoming Dance with Gordon Voidwell and his band, Emil and Friends, Emily Warren & The Betters and a DJ set from Aaron Pfenning (tickets).
All dates and WWPJ's new video for "Human Error", from their new LP In The Pit Of The Stomach, below...
photos by Chris La Putt
Happy Mischief Night!. Two garage rockin' opening bands and many fans braved the ugly weather in NYC last night (10/29) to get ugly with the Black Lips at the Halloween-themed "Hell at the Hall" extravaganza. Here are some pictures from the night. They continue below...
photos by Kurt Christensen
Dawes headlined a sold out show at Webster Hall last night (10/27). Both Blitzen Trapper & Smoke Fairies opened the show which was part of a tour that lasts through mid November. Pictures from the NYC show are in this post, Halloween decorations included.
Dawes will return to the area by themselves to play three shows in December. First up is the annual WFUV Holiday Cheer show at Beacon Theater on December 5th with the massive lineup of Dawes, Mavis Staples and The Head And The Heart. That should sell out quick when tickets go on general sale Friday (10/28) at noon. Dawes will spend the next two days at the more intimate Maxwell's in Hoboken. Tickets are on sale now for December 6th and December 7th. Dawes play New Year's Eve in Minneapolis.
More pictures from Webster Hall below...
Twin Shadow @ Webster Hall (by Vincent Cornelli)
Accompanied by fellow genre-straddler Twin Shadow, O'Regan (of Diamond Rings) went out with a synthy bang at his 2nd to last show on the 'Clean Cuts' tour. He covered every inch available to him, dancing--and even rapping- on all four corners of the stage.Pictures from Webster Hall adorn this post, and pictures from the Chicago stop on this tour are viewable here.
...he paired his 80's infused dance moves with impressively baritone vocals to provide the audience with the best possible idea of what it is to be Diamond Rings.
"Diamonds are multi-faceted and precious, but also the hardest rocks out there," O'Regan said. "I can cut you if you're not careful."
This contrasting quality seems to be representative of his musical identity as a whole. From his deep voice against catchy synth-beats to his colorful makeup against his pale skin, O'Regan's music is full of clean collisions.
...Diamond Rings' eccentric style has been compared to that of David Bowie and even Lady Gaga. At the show, he was dressed in a graphic t-shirt, a white leather jacket, a chain necklace, and a pale face of makeup. O'Regan said that he uses fashion as a way to express himself and connect with the world.
"People listen with their eyes," he stated. "It's naïve to imagine that image isn't a big part of being a musician in the modern world." -[BU Quad]
If you missed Webster Hall, then hopefully you live in either the Dominican Republic, Nova Scotia, or Asheville, NC. Twin Shadow has dates in all three in the coming weeks, with the latter going down at Moog Fest 2011. Tickets are still available.
More pictures from Webster Hall are below...
photos by Anna Webber
Clap Your Hands Say Yeah @ Bowery Ballroom
Clap Your Hands Say Yeah, who we just mentioned will play a live performance for KEXP at Ace Hotel during CMJ, also have some other upcoming dates coming up. The band will play Fun Fun Fun Fest in Austin and then play a few Australian dates before returning to the US for a few shows in November/December which includes Webster Hall on December 7 (three days before the just-announced Antlers show at the same venue). Tickets for the NYC show go on sale Friday (10/7) at noon with an AmEx presale starting Wednesday (10/5) at noon.
Considering CYHSY's last NYC show was at Bowery Ballroom and it sold out pretty quickly, Webster Hall seems to make sense this time around. Speaking of that Bowery show, which was one day before that Philly show at Union Transfer, here are some pics from it.
Check out their video for "Maniac" off the recently released Hysterical, their performance of "Same Mistake" from the same album on Fallon, more Bowery pics and all dates below...
The Antlers @ ACL 2011 (more by Tim Griffin)
Tickets will be available at the door to tonight's Explosions in the Sky/Antlers show at Wellmont Theater in NJ (10/3). The Antlers play an opening set at 8pm. From there they stay on the road for a couple more days before coming home. They head to Mexico and California later this month, and then it's off to Europe in November. By December 10th they're back home because that's the date they'll headline their own NYC show at Webster Hall! Ticket info TBA shortly. All tour dates below...
Thirty minutes before the opening act, Webster Hall was already getting crowded - good news for Alessi's Ark, the opening act. Much like Laura Marling, Alessi Laurent-Marke combines acoustic guitar-based folk songs with a good deal of charm, but what Marling's discography lacks - levity - Laurent-Marke makes up for. Instead of singing about ghosts, going mad, and lost hope, Laurent-Marke tends to stick to lighter topics (like kite flying) and a more delicate, gentle sound.
Many musicians lose their accents when they sing. Lauren-Marke is not one of them. Accompanying her rich voice is a relatively pronounced British accent (she hails from West London) that makes her vocals all the more alluring - especially when she shares the mic with her friend Marcus, who also accompanied her on the guitar throughout the performance.
Though the crowd was certainly attentive during the opening act, the energy in the room seemed to triple as soon as Laura Marling walked on stage. Shrieks, whistles, and high-pitched giggles replaced demure clapping and extended into the first notes of the opening song ("Rambling Man"). But the crowd became fantastically silent as soon as Marling began to sing.
Blending intimacy with power, she often begins her songs with soft finger plucked melodies before calling on her five-piece backing band to contribute thunderous instrumental interludes on banjo, mandolin, upright bass, drums, keys, cello, and guitar.
Marling performed a smattering of songs from her three albums, including older crowd favorites like "Alas I Cannot Swim" and "Ghosts," which she played back-to-back toward the beginning of the set. Midway into the evening, her bandmates took a break, leaving her alone on the stage to play stripped down versions of a handful of songs, including a brand new, as of yet, untitled song.
In typical fashion, Marling apologized for her inability to grasp the art of stage banter and proceeded to charm the crowd with her asides, random facts, and general awkwardness.
There was no encore, well not technically. "We don't consider ourselves rock 'n roll enough to do an encore," said Marling. "So we have a way of getting around it [...] so if you did want an encore, than this is the last song, and if you didn't, than this is the second to last song." The real reason they don't do encores? The crowd would never let them leave. Somehow, though no one appeared to be dancing, the floor of the venue began to shake in time to Marling's last song, "All My Rage," as if the room itself had undergone a conversion and could no longer contain its excitement. Despite Marling's disclaimer, no one budged after she walked off stage, no doubt hoping she would have a change of heart. No such luck.
Last night's show marked the last stop in Marling and Laurent-Marke's tour that also passed through Chicago.
Earlier in the day Laura awarded some fans who bought her album with a very special afternoon event that involved her playing songs for two people at a time in an extremely intimate setting.
More pictures from Webster Hall and both setlists below...
The Rapture @ Webster Hall (photo by davidoliva)
"Embrace for a moment the idea that the most important band to emerge from early-2000s New York wasn't the Strokes but the Rapture. Sure, the Strokes went on to arenas, to overblown follow-up albums, to myth, all while the Rapture idled, then fizzled, then reconstituted, only to fizzle some more.The Rapture are now touring the United States.
But that's because there was no way to recapture the specific high of the Rapture's breakthrough, particularly the 2002 single "House of Jealous Lovers," which was the sparkplug of New York's dance-punk revival and remains that scene's greatest document. But while many rock micromovements of the day were ingested by the mainstream, the Rapture stayed small, a champion of a world preoccupied with itself and the preoccupation of few others. It lived as subculture. It died as subculture. It remained a pulsing memory.
At least that's the best way to explain how almost a decade after those earliest hits the Rapture -- Luke Jenner, Gabriel Andruzzi, Vito Roccoforte -- is still able to play to a full Webster Hall, as it did on Friday night, in what was as much a celebration of a lapsed idea about New York as a vital incubator as it was of the band that was once its soundtrack."
Speaking of DFA-signed bands, YACHT is playing a show at Brooklyn's Dekalb Market on October 9th. The market is a free place. The show is not free. More details below...
Mobb Deep @ Rock the Bells (more by Dana (Distortion) Yavin)
When Malkmus got bumped from Terminal 5 to Webster Hall (good news for Malkmus fans, bad news for Malkmus), the hip hop show that was already scheduled at Webster Hall that night got bumped down to the even more intimate Studio, and that show features Mobb Deep (performing "The Infamous") & Lloyd Banks (performing "The Hunger For More"). Mobb Deep performed the same album at Rock the Bells. Tickets are still on sale for that, and for Malkmus too.
photos by Greg Cristman
Opeth @ Webster Hall
"Swedish metal act Opeth played to a packed Webster Hall, debuting new songs from just-released record Heritage and putting new spins on old favorites.Opeth & Katatonia played their second of two shows at Webster Hall last night (9/22). Pictures from the first night, including one of their setlist, are in this post.
Opeth may have started as a full-on death metal band, but recent years and albums have shown that both the band and its fans' affinity lies with the beautiful, progressive tracks that seem to pour out of frontman Mikael Åkerfeldt, and the death growls have slowly but surely been fading out of the picture, and are nowhere to be found on the new album.
The band opened with two new songs off of Heritage, The Devil's Orchard and I Feel The Dark, and the enthusiastic fans cheered wildly for the new music. Webster Hall's relatively small capacity meant that fans were crammed shoulder to shoulder, but even in the very front of the crowd, everyone was abnormally pleasant when compared to a typical rock show, and that positive energy was reflected on stage as well, the musicians all clearly vibing with one another. Åkerfeldt is an outgoing frontman, and took a break every few songs to joke with the crowd about everything from masturbation to Swedish royalty. [Examiner]
Their tour continues at the Trocadero in Philly tonight. Updated tour dates and more pictures below....
Stephen Malkmus @ Other Music in Aug (more by Dana (Distortion) Yavin)
Terminal 5 haters rejoice. Stephen Malkmus & The Jicks had to do some rearranging...
The New York show is being moved from Terminal 5 to Webster Hall, and will now take place on Sunday, September 25 instead of Monday, September 26. All tickets purchased for the Terminal 5 show will be honored at Webster Hall.Updated Malkmus dates below...
The Chicago show originally scheduled at the Vic Theatre has been moved to Metro, 3730 N. Clark. Tickets purchased for the Vic Theatre will be honored at Metro. Showtime is 8:00pm; Holy Sons will open the show. Tickets for the Metro show are $22.50 and are on sale now through etix.com and jamusa.com. Ages 18 & Over.
Cat Power @ Webster Hall
After a string of shows got canceled this weekend, I was glad that there was at least one that was unaffected by Irene: Cat Power. (Chan Marshall's advice for those living in "hurricane city"? "Don't sleep under a window.")
Friday evening's show at Webster Hall, Chan's second in a row at the NYC venue, began not with Xray Eyeballs (Thursday's opener), but the one-woman act, Vorhees. Though her music is relatively unknown, Dana Wachs has been involved in the scene for a number of years both through her job as a sound engineer at DC's club The Black Cat and through her work on the road with artists like Black Dice, MGMT, MIA, and yes, Cat Power.
Perhaps unsurprisingly for a sound engineer, Wachs' music is heavily layered. Still in its beginning stages now, Vorhees dabbles with a number of influences. At its core, it's ambient and droney, but Wachs' chirpy, upbeat vocals recall 80s pop, and her beats bring a little hip-hop flavor.
After playing a handful of original songs, Wachs concluded her short 30-minute set with a Lindsey Buckingham cover and a few words of caution on the weekend's inclement weather.
Cat Power's backing band had already begun to play by the time Marshall walked onto the dimly lit stage. After a quick "hello" to the crowd, she grabbed the mic out of the stand and, dragging the chord behind her, retreated farther into the shadows where she kicked off the show with a couple of ballads, including a grim new song about alcohol, sleeping on the streets, and inescapable memories.
As if to draw as little attention to herself as possible, Marshall had dressed in all black, and her long bangs fell over eyes and covered half of her face. Periodically, she pulled at her clothes, clutching at both the collar of her shirt and her neck as if she were uncomfortable in her very skin despite receiving generous accolades from the crowd every few minutes. ("I love you!" "You're so beautiful!" people cried.)
Not one to bask in the spotlight, Marshall awkwardly shuffled back and forth, obviously favoring the far left and right to the center. Though she often had her back to the audience and hardly made eye contact with her praise-shouting fans, her nervous, self-conscious behavior was strangely intimate (in the way that someone who is confiding something extremely personal will rarely look you in the eye). Here was Chan Marshall in all her beautiful vulnerability. Somehow, her deep, smoky voice seemed even heavier and more world-weary live than recorded.
Though the music was largely subdued and melancholic, every few songs, the band let loose, and there were sudden moments of cacophonous instrumentation - electric guitar riffs, crashing drums.
After playing through a string of covers (from Jukebox) and new songs, Marshall closed the first portion of her set with a dramatic extended version of "Greatest," complete with flashing stage lights and a rowdy instrumental segment. She hardly got out the first few words of the song before the crowd interjected wild cheers. As the song stretched to eight minutes, Marshall simply walked off stage as the band continued to play. One by one, her band mates joined her until only a distorted melody remained to be repeatedly looped. The long wait definitely tested the patience of the audience, but no one seemed to move. (At this point, she had only played for about 50 minutes, or eight songs total.)
Finally after nearly fifteen minutes had passed, Marshall and the band returned to play nine additional songs. For the first time of the evening, Marshall joined in on guitar, at least for a couple of songs.
Between the heaviness of the songs themselves and Marshall's apparent unease, it was not the most uplifting show, but she did pick things up toward the end of the set and eventually made an odd request.
"Can you turn on the houselights? Like all of them?" The house obliged, leaving Marshall to sing the last song ("Don't Blame Me") to an audience bathed in bright lights as if born again. Then, after a series of odd bows, waves, and salutes, she walked away, again leaving her band mates to wrap up the song one by one.
So, was there a big breakdown? Well, no, not unless you count Marshall's periodic disappearances from the stage or the lengthy intermission. But despite the relative stability of her performances now, there remains a soul-stirring sadness in her voice and her delivery that in some ways is as difficult to bear as a show addled by an alcohol-induced haze of forgotten lyrics and on-stage crack-ups.
A video and the night's setlist below...
photos by Jessica Amaya words by Andrew Sacher
Deerhunter @ Webster Hall
Eleanor Friedberger (of Fiery Furnaces) and her band took the stage around 9 PM at Webster Hall last night (8/23) for the second of two shows with Deerhunter, while a cover/remix of The Beatles' "Eleanor Rigby" played through the PA. They played a great opening set. Eleanor's got an awesome voice and she's a killer downstrummer on the guitar. The set was enjoyable throughout, but the undeniable highlight came for me on the last track, "I Won't Fall Apart on You Tonight." The vocal harmonies she did in the chorus with her guitar player meshed so well, and were definitely something I wished I'd heard more of.
At around 10:15 PM, Deerhunter minus Bradford Cox walked out onto the stage at the sold out venue and began filling the room with noise and ambience. While awaiting Bradford's entrance, the band were joined by Colin Mee, an original member of Deerhunter who left in 2007. Bradford then appeared, taking solely to the mic like he did in Deerhunter's earlier days, and they began playing the intro to "Fluorescent Grey" off the EP of the same name, released shortly before Colin's departure from the band. Without a second of silence in between songs, they progressed into the first few tracks on Cryptograms, building the songs around the layers of noise they'd been creating. As the band moved through their set the stage was flooded with languid clouds of fog and absinthe-green lights, silhouetting the members and adding a visual companion to the heavy atmospheres of their music.
After about a half hour, Colin left the stage and Bradford returned to his guitar for the remainder of the set. In a slightly sarcastic manner, Bradford commented on yesterday's earthquake hitting NYC and that he was glad we were all okay, before going into Halcyon Digest's opening track "Earthquake." The band followed that with a couple more tracks off the album, including a distortion-ridden version of "Don't Cry," before going into a few Microcastle cuts. After extending "Nothing Ever Happened" into a trance-like passage, Bradford started screaming the "Horses" section of Patti Smith's "Land" over the mix. They left the stage after ending the climactic "Twilight At Carbon Lake" with a reverberating crunch that continued through their entire break before returning for an encore. The 2-song encore included the Lockett Pundt-fronted "Desire Lines" and "Calvary Scars II," which again ended with hypnotic noise that didn't cease until the lights in Webster Hall were turned back on and the stage crew muted the amps.
More pictures from the Tuesday night show below...
Panda Bear at MHOW in July (more by Amanda Hatfield)
As mentioned, Panda Bear plays Brooklyn Masonic Temple on October 2. We also mentioned that the show would reportedly be taking place one day after another NYC show that would probably be at Webster Hall. It's since been confirmed that the other show will take place on October 1 at Webster Hall. Tickets go on sale Friday (8/26) at noon for the Webster show and the Masonic Temple show. An AmEx presale for the Webster Hall show starts Wednesday (8/24) at noon.
In other Paw Tracks news, Prince Rama's collaborative show with Sun Araw happens at Music Hall of Williamsburg this Friday (8/26), and Prince Rama have a bunch of other shows coming up too including September 8th at Issue Project Room.
All tour dates are listed below...