Concert Review: Akron/Family with Delicate Steve

March 28, 2011
Urban Lounge, Salt Lake City

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Delicate Steve

There wasn't a huge crowd at Urban Lounge to see Akron/Family perform, and before the headliners an even smaller crowd was treated to the intricate arrangements of (mostly) instrumental band Delicate Steve, an experimentally-minded but fun-loving rock group. The band bears the name of lead guitarist Steve Marion, but the set was much more than just a showcase for his excellent guitar playing. Each of the five members contributed to successfully recreate the group’s cheerfully varied rock style, with songs ranging from triumphant pop anthems to breezy, melodic jams.

The group opened modestly with a mix of tribal percussion and subtle guitar interplay, but soon broke out into some more anthemic material that encouraged a small yet enthusiastic dance session near the stage. At times Steve would show off with some flashy guitar work and at others he would fade into the mix to help the band create more restrained sonic textures. Each piece was interesting, but the audience was most appreciative of the more up-tempo numbers, especially the penultimate tune, a fiery alt-blues stomp that features some seriously impressive shredding.

For the last song, Steve took his guitar down to the small dance party on the floor while the band pounded away on stage, never missing a beat and offering a solid finale to a strong opening performance. Delicate Steve may be a young band, but the quintet played with the precision and intelligence of seasoned pros. Definitely a band worth experiencing live if you have the chance.

Akron/Family

Right from the beginning of their set, it was clear that Akron/Family was going to take their time that evening. They spent some time chatting with the crowd, extolling the virtues of an all-week weekend (this was a Monday show) before launching into a quiet, nature-sounds-infused introduction that must have lasted for five minutes as the band waited patiently for the crowd to quiet. As the noise of the audience died down, the band launched into a delicate blending of voices that demanded everyone’s attention, but the crowd really got going with beginning of the next song, “River,” which involved a great deal of audience participation in the form of clapping and chanting along.

In fact, the band members nearly demanded such participation throughout the evening. At one point guitarist Seth Olinsky lead the crowd in a group meditation session, for another song everyone was encouraged to sing along for what seemed like a ten-minute chorus. And when they weren’t interacting with the audience, the trio were feverishly playing on stage with energetic riffs, spectacular harmonies and deafening blasts of noise. Bassist Miles Seaton even managed to play the bass with his mouth for while.

But it wasn’t all just gimmicks and insanity, Akron/Family is a talented bunch that provided some great moments that night. “Everyone is Guilty” and “Another Sky” were especially electrifying, showing the band’s ability to write and perform deliriously fun pop hooks. The problem was, by 1 a.m. the band had pretty well worn out the audience, trying our patience with a few too many extended jam sessions and head-exploding bursts of noise. Even the encore was a bit of a chore in its length, but the final moments of the show were beautiful, an a capella sing-a-long that faded softly and smoothly, ending a sometimes thrilling, sometimes trying performance on the perfect note. I think it’s safe to say Akron/Family puts on a truly unique show, but be warned, it certainly requires some stamina.

Best of 2010: Live Performances

Alright! I'm back finally back with some new stuff! And I promise I'm going to try and be better about updating this blog next year. But let's get to some best of the year stuff first.

I attended between 20 and 25 concerts this past year, so I obviously can't claim this to be a comprehensive list of the best live acts of 2010, but the following bands really blew me away. Think of this as recommendations for bands to catch in concert next year, or something like that.

So, in no particular order, my five favorite live artists/bands of 2010:

Sufjan Stevens: Say what you will about Sufjan Stevens' divisive new album, Age of Adz, the guy knows how to put on a show. And by show, I mean a laser-light rock opera kind of performance including the entirety of the 25-minute epic "Impossible Soul," which resulted in a sort of awkward dance party throughout Kingsbury Hall. But through all the fuss, Sufjan kept the audience mesmerized with that beautiful voice. I've never experienced anything quite like this outrageous performance, and I doubt I will again.


The Gaslight Anthem: Talk about getting your money's worth. Everyone at this show payed only five bucks to be in attendance, but Brian Fallon and company played for over two hours and seemed thrilled to do so. Fallon sang his heart out and carried a grin the entire evening, and the band was razor sharp as they made their way through what must have been every song in their catalog. I love to see a band that so clearly understands what makes a great rock 'n' roll show.


Sharon Jones & The Dap Kings: I have never--and I mean never--seen an artist work so hard during a live performance. Sharon Jones sang, danced, gave monologues that stretched songs into 10-minute jams, ran all over the stage and invited audience members up to join in the party. She must have been up there for nearly two hours, and while I probably would have died from exhaustion, the 54-year-old soul singer just. kept. going. I'll never forget this one, I get goosebumps just thinking about it.


Thao/Mirah: Thao and Mirah sharing the stage for this one-of-a-kind tour proved to be an inspired decision and a treat for fans of either artist (so, bonus for me because I love both of them). The combination of their unique musical personalities along with the intimacy of the evening resulted in one of the more engaging shows I saw this year. They traded songs, sang beautiful harmonies and made it fun each member of the small but appreciative audience. Also, Mirah's dance-music version of "Gone Are the Days" was worth the price of admission.


Rubik: Not too many people know Rubik, the awesomely weird indie rock band from Finland, but these guys are fantastic live. They opened a show to an audience that had absolutely no idea who they were, but by the end of their relatively short set each and every person in that crowd was a convert. They blasted horns, pounded keyboards, and played with such fervor that they simply won us all over and received a standing ovation usually reserved for a headlining act. I can't wait to see them again.

Concert Review: Neon Trees (SLC, Utah)

My first review for The Deseret News. Read the full story here.

Provo alt-rock quartet Neon Trees has steadily built a reputation as an exhilarating live act, and the band delivered Tuesday at Salt Lake Community College.

Supporting the Rock the Vote campaign, which encourages political activity among young adults, Neon Trees gave a flashy, energetic performance showcasing the high-octane style that has the group in steady rotation on radio stations across the country.

Continue Reading

Concert Review: Jukebox the Ghost w/ Hooray for Earth, A B & The Sea

Kilby Court
Salt Lake City, UT
October 7, 2010

Headliners Jukebox the Ghost were--appropriately--the highlight of the night, but both Hooray for Earth and AB & The Sea added to a thoroughly enjoyable fall evening in Salt Lake City.

San Fransisco's A B & The Sea opened to a tiny crowd, but made the most of it with a high-energy performance that ended up being a great introduction for most of the audience. The band's jangly retro-rock sound (think Dr. Dog with an extra helping of sun and sand) was easy to love, with plenty of bright melodies, smooth harmonies, hand-claps, and insanely catchy riffs putting smiles on the faces of all those in attendance. One song that stood out in particular (I looked up the title afterward) was "Yellow-Haired Girl," which is as catchy a pop-rock tune as I've heard in some time. It was an incredibly fun half-hour set that makes me feel confident in saying you'll be hearing much more about these guys in the coming months. MySpace


I had heard a little from Hooray for Earth, but I was not prepared for their awesomely strange, almost chaotic live act. Utilizing squealing guitars, spacey synth and thunderous drums, the band's songs ranged from dense, noisy rockers to otherworldly dance numbers all of which were both punishingly loud and unusually captivating. This bombastic take by the group on their comparably tamer studio material seemed to catch the crowd by surprise, but despite being the odd band out stylistically, Hooray for Earth was electrifying. The soaring finale was especially awesome, but their entire set was an impressive showcase of talent and creativity that was certainly enjoyed by those who didn't mind traveling well off the beaten path. MySpace

Download: Comfortable, Comparable (via Stereogum)


Though a fairly young band, Jukebox the Ghost were easily the veterans of the evening and it was evident immediately. Right from opener "Good Day," the trio had the crowd's undivided attention, executing each song to perfection while seeming to have a great time in the process. Dual singer/songwriters Ben Thornewill and Tommy Siegel both proved to be excellent showmen, as did drummer Jesse Kristin, whose intricate beats stole the spotlight at times. The crowd was still unfortunately thin, but that didn't stop Jukebox the Ghost from giving a performance fit for a sold-out show in this very modest setting.

Every tune was well received, inspiring awkward dance circles and plenty of clapping and singing along that seemed appropriate for the band's buoyant brand of pop. Highlights from the night included "Popular Thing," "The Stars" and the encore, "Empire," though I guess those are probably my favorites from the band anyway, so I should simply say each song was excellent and added to a hugely entertaining set. If there's any justice in this world, Jukebox the Ghost will play to a packed house next time around, these guys deserve it.

Live Review: mewithoutYou/Rocky Votolato/Rubik

The Avalon, Salt Lake City

June 5th, 2010

Rubik

I arrived probably earlier than was necessary at The Avalon to get a close seat for the show, but I had a feeling it would be worth it to see openers Rubik live. Granted, I had no real reason to expect they would be fantastic--I was just betting that was the case. And you know what? I wasn't disappointed in the least. Rubik hail from Finland and definitely had a very distinct sense of fashion and presentation, but there was absolutely no barrier between them and a largely uninitiated crowd when it came to the music. From the moment they began--with an ethereal introduction showcasing frontman Artturi Taira's vocals--everyone in the room seemed instantly drawn to these unusual pop performers. The band's intense energy and their obvious love for making music was infectious, to say the least, and each song drew a more enthusiastic response than the one that preceded it.

Taira led the bunch with some absolutely stellar singing and frenzied dance moves, but everyone on stage seemed to be having the time of their lives, shouting, running, and feverishly pounding their instruments. I counted at least four keyboards, plenty of drums, two trombones, and more that the band used to replicate personal favorites like "Karhu Junassa" and "Goji Berries" with the kind of emotion that can only exist in a live performance. And after a wonderful alternate version of "Wasteland," they exited the stage far sooner than any of us would have preferred to a standing ovation which was received with sincere gratitude. In fact, when Taira came back to take his mic and keyboards down, it drew another enthusiastic cheer. I've rarely seen an opening band win over a crowd with this same sort of impact, it was nothing short of spectacular. (MySpace) (Free EP Available Here)

Rocky Votolato

Rocky Votolato didn't have nearly as much to prove as Rubik certainly must have, but he still gave a remarkable and memorable performance. Being relatively well-versed in his music, it was nice to hear Votolato play music from most of his records, opening even with "Alabaster," one of the best from his breakout album, Suicide Medicine. It was also refreshing to see a musician perform with absolutely no need for a backing band--it was just him, his guitar, and a couple harmonicas. The performance's starkness contrasted sharply with both the other bands playing that evening, but not only was it a nice reprieve from the noise, it was just as captivating. His clear voice was every bit as effective on stage as it is on his recordings, and his simple instrumentation was the compliment to his world-weary tunes.

He played nearly all of my favorites, which was nice, but I felt that the material from his new record, True Devotion, was the most emotionally powerful despite the fact that I don't think the album is one of his best. "Sun Devil" especially was hypnotic, and even the high ceilings of the room couldn't distract from what was a compellingly intimate and touching performance. Of course, career highlights "White Daisy Passing," "Suicide Medicine," and "Portland is Leaving" were the best received as they were the most familiar, but no matter your previous experience with Rocky Votolato's music, his heartfelt, dynamic performance was impossible to deny that night. (MySpace)

mewithoutYou

I have less to say about mewithoutYou, but not because their performance wasn't great. In fact, they played a lengthy and consistently energetic set that kept about everyone in the audience with their eyes glued to the stage as frontman Aaron Weiss bounded about, twirling and yelling at times and then retreating to the background when the tempo died down. I've never been the band's biggest fan, but I found their show a fun, engaging experience. And, without a doubt, the highlight of the evening was mewithoutYou's encore, during which they played some of their most popular and exciting tunes and even were gracious enough to finish the final song after 20 or so people climbed on stage to provide the band with unexpected backup chanting and dance accompaniment. (MySpace)

It was the perfect ending to a long and consistently fantastic show. If anyone left unsatisfied that night, they had only themselves to blame.

Concert Review: Frightened Rabbit w/ Maps & Atlases

Urban Lounge, SLC
May 13, 2010

I've mentioned this before, but shows at the Urban Lounge start late. Like 10 p.m. late, and sometimes after a long day of work I find myself struggling to get excited about a show on the weekdays (yeah, I'm prematurely old - alright!?). But Thursday the 13th I had no issues getting myself out of the house to see Frightened Rabbit and Maps & Atlases. I arrived and--as expected--found the place fairly full, awaiting the latter band to take the stage (I unfortunately missed what was apparently a great performance by Our Brother the Native).

Maps & Atlases

Given that Maps & Atlases have yet to release their debut LP (they have a couple EPs to their name, though, check 'em out), I was curious to know what kind of reception they would receive, and if they could get the energy going that night despite their "under the radar" status. Turns out my worry was wasted as it immediately became clear that the band had all the talent and showmanship necessary to put on a great show. Maps & Atlases, a quartet, make extremely technical music--with weird time signatures, constant tempo changes, and some seriously impressive guitar work (if you geek out about that stuff, like I do). But it's also fun music, and when the band kicked into their first number, an upbeat, percussion-heavy tune, the crowd responded almost immediately. Throughout the group's 45-minute set, the audience grew increasingly connected to these engaging performers; Maps & Atlases certainly gained some converts that night.

Behind mountain man-esque frontman Dave Davison and his nasally croon, Maps & Atlases worked their way through both bouncy indie pop tunes and fiercer rockers with apparent ease, showing off with intricate riffs and a few lengthy guitar solos without letting things devolve into an uninteresting jam session. The joyful sound they made was impossible to deny, and though their more danceable cuts were obviously the best received tunes, no matter what the guys played they seemed to get a better ovation each time. The band ended with one of their best numbers, a burning rock 'n' roll tune that went on for some time, but though they'd played a very solid and satisfying opening set--I feel confident saying we all would have enjoyed an encore, even at the expense of waiting for Frightened Rabbit to play. Maps & Atlases proved clearly that even the most cerebral, technical music can--and should--provide for an awesome show.

MySpace


Frightened Rabbit

Frightened Rabbit took the show around 11:30 that night, but even after a length sound check they had everyone's attention when they took the stage. I didn't really know what to expect from singer/songwriter Scott Hutchison, given the often dark and depressing nature of his lyrics, but he was friendly, personable, and complimentary of the group's previous experience in Utah. Then the boys launched into a slowly building introduction into "Skip the Youth" from this year's Winter of Mixed Drinks and it became obvious Hutchison isn't the withdrawn, tortured soul I half expected him to be. He sings loudly, confidently, and makes the most of the music's climactic moments. Earlier this year I was a little critical in my review of the band's new album due to the bigger, more grandiose style, but I soon was rethinking my analysis. The group perfectly replicates the more epic approach on stage, with each member contributing vocal harmony and playing a variety of instruments to do so. And with the crowd singing along at every turn, Frightened Rabbit turned in one hell of a performance.

They played about equal parts their new record and 2008's Midnight Organ Fight, with personal favorites like "Old Old Fashioned," "Swim Until You Can't See Land" and "Foot Shooter" given an extra boost by the rowdy atmosphere and increasingly intense Scott Hutchison, who seemed to get looser with each song. At times he became almost unhinged, yelling emphatically and then subsiding into a quieter passage with an equally powerful emotional delivery. The group finished with a fiery rendition of "Good Arms vs Bad Arms," but everyone knew the drill and cheered loudly until the band returned for their encore. Hutchison appeared alone at first, singing the terribly sad "Poke" with just his acoustic guitar, even removing himself from the mic for the end of the song so the audience could join in what became a drunken sing-a-long. Then the rest of the band joined for "Living in Colour" and "Keep Yourself Warm," the latter of which earned a hearty cheer when announced. It was a thoroughly entertaining and engaging finish to a concert that has set the bar high for any other shows I may see this summer.

MySpace

Live Review: Fanfarlo w/ April Smith & The Great Picture Show

Urban Lounge, SLC
Saturday 2/27

I'd never been to a show at the Urban Lounge before, but the one thing I was told repeatedly about the venue is that the shows start late. And, true to the information I'd received, showing up at 9 o'clock means waiting for a full hour before the music begins. But time passes quickly as people shuffle for position and grab a beer from the bar - the atmosphere is relaxed and the setting quite casual. I'm curious about the opening act, April Smith & The Great Picture Show, as they've just recently crossed my radar. Having only heard a few songs and equipped with little information about the band, I'm eager to see what kind of impression they'll make to a crowd that I imagine is similarly uninitiated. The group is dressed to kill and each member look happy to be there, and after a sound check on a small stage crowded with instruments, they're ready to get things started.

Fortunately, April Smith and company waste no time and make good use of their opening slot, plunging right in to a set of jazzy pop tunes that win over the audience quite completely after only a few minutes. Smith's small frame belies a powerful voice, and she belts out bright melodies as the band transplants the venue back about 6o years with their classic, bluesy style. With each passing song the crowd loosens up a bit more, and eventually there's plenty of dancing and clapping along with the music while those on stage continue smiling and joking throughout their 40 minute set. The group's energy is infectious and their talent easy to appreciate as they play everything from a sassy, anti-valentines day song to unabashed love anthems, and it all ends far too soon even with the thought of hearing from Fanfarlo later (though it makes the parting more bearable). I'm thoroughly impressed; I make a note to check out more from April Smith & The Great Picture Show as soon as I'm home.

April Smith MySpace

Fanfarlo doesn't take the stage until well after 11, but the energy in the room hasn't dissipated - only increased along with the size of the crowd. The quintet, looking distinctly British against this very American setting, have a nervous energy about them and look somehow younger than I expected, but their music immediately makes it clear that their considerable musicianship and performing ability is going to make for a great show. Kicking off with "Drowning Man" and continuing into Reservoir opener "I'm a Pilot," the group's sound fills the room completely, making the club feel far to small to contain the anthematic choruses and gorgeous harmonies that characterize the band's style. Fanfarlo don't talk much, but they seem pleased with the good reception they're getting from the crowd and come across as warm and personable when they do speak. It's just obvious that they'd rather have the music do the communicating, and it indeed speaks volumes to this very eager audience.

Popular favorites from their debut album, "Harold T. Wilkins" and "The Walls Are Coming Down," are especially effective, though my personal highlight occurs when they play the beautifully melodic "Finish Line" halfway through the set and execute the song to perfection, and with that special energy you can only convey in a live performance. Their set feels a little short (probably 45 minutes or so), but they're quick to give an encore after a sustained and enthusiastic cheer from all of us, and given both the hour and the quality of the performances thus far, nobody feels much like complaining. I had entered this evening with high hopes and now found them surpassed as I headed for the door. One of my favorite up-and-coming bands from last year had more than lived up to my expectations, and I'd been given a fantastic introduction to an exciting new group as well. A memorable evening, to say the least.

Fanfarlo MySpace

(sorry, no good pictures from the show for you!)

Live Review: Dirty Projectors @ In the Venue

In New York City, Dirty Projectors are set to play at Lincoln Center and the Bowery Ballroom. In Los Angeles, it's the Walt Disney Concert Hall. But here in Salt Lake City, Utah, it's the humble little joint called In the Venue that they're to perform at. To call this somewhat dingy club nondescript would be generous; still, I’ve seen some fantastic performances here (including Fleet Foxes last year), and expect this one to be no different. Arriving at what I’ve come to refer to as “concert standard time” (about a half hour after the show’s 7 p.m. opening), I expect to see some sort of line or crowd inside, but we're greeted instead with neither. The opening band is still ten minutes away from taking the stage, but even still, the paltry turnout is surprising. A few small groups mill about, but nobody is jockeying for position up front as there isn’t much competition—we're not complaining. (Continue Reading @ In Review Online)

Double Feature: Joshua James - Live Review

Concert Review: Joshua James w/ Cory Chisel - Velour (Provo, UT)

I was especially excited to see Joshua James play as I hadn't seen him perform in quite some time, and with the venue just minutes from my house, the opportunity was really too good to not take advantage of. The Velour is a small indie venue that plays mostly local and regional acts, James being perhaps the biggest name to come through in several months. The space is fairly small but it's more often cozy than cramped, and they artsy decorations add a nice bit of ambiance to the place. On this particular evening, the crowd took a while to fill in and it never got too claustrophobic unless you stuffed yourself up front.

My date and I chose to give ourselves some space from the throng and waited for the opening act - Cory Chisel & the Wandering Sons - to take the stage. I'd heard little about Cory Chisel, but it was enough to make me excited to see him perform live. From the first song, he greatly exceeded my modest expectations and he and his talented band played a strong set. Their Southern-influenced rock 'n' roll was better live even than the few recorded songs I heard, ranging from upbeat anthems to lonesome country ballads, all equally impressive. The crowd was gracious and warmed up quickly to the group, who struck a good balance between on-stage banter and getting through their set quickly enough to get everyone to the headliner.

And when Joshua James came on stage - the feeling in the room changed considerably. Despite all the equipment placed around him, James entered alone with his old acoustic guitar in the complete darkness - though a red light soon gave the room an eerie glow. He opened with a set of three songs I hadn't actually heard, which meant that they weren't on either of his full-length releases or included in the handful of non-album cuts I have. But each was beautiful and characteristically melancholy, a mood which prevailed through his entire set - even when the band joined Joshua on stage and the lights became brighter. James did seem to have a good time on a couple of the group's more aggressive rockers like "Black July" and "Coal War," both of which showcased the group's skill and James's ability to really let loose, though he had an ever better time covering The Doors' "People are Strange" which was absolutely fantastic.

Through both the contemplative folk songs and the louder numbers, James was captivating - his emotional intensity creating an electric atmosphere in the room and the crowd was entranced for the entire set. Eventually, the band exited the stage and left their front man to close out the set like it began, with some solo acoustic numbers including a couple personal favorites - "In the Middle" from the new album and "Lovers Without Love," a b-side from his debut. Again, James created a sense of intimacy and closeness that I've experienced very few times at a show like this, and by the time he was finished, it almost felt wrong to applaud so reverent was the setting. Yet we cheered anyway - and loudly, and even though the band's encore was only one song, the heartbreaking "Dangerous," it was certainly a welcome few more minutes we all got to spend with this enigmatic but personable performer.

All-in-all, Saturday night was a great evening that at least met and probably exceeded what I had expected from both bands - I highly recommend the experience for fans of either group or even if you just want a good rock show. If you haven't been introduced, links are below to their MySpace pages, which should include tour dates as well.

Joshua James - MySpace

Cory Chisel - MySpace

Cory Chisel photo by St. Vincent Skeltis

Concert Review: fun. @ Kilby Court (SLC)

For their first stop on their headlining tour, frontman Nate Ruess and company (Andrew Dost of Anathallo, Jack Antonoff of Steel Train and a couple others) were met with a sold out crowd at one of Salt Lake City's most beloved (and tiny) indie venues - Kilby Court. This was my first experience in the garage-turned-concert hall (mostly just an empty shed with speakers), but at least a couple of the band members had been through before, which wasn't surprising given their involvement with other projects. A good setup so far, but while they were definitely the band the crowd was there to see, they had to do without openers Miniature Tigers - who were very unfortunately deterred by van problems and unable to make it. By the time fun. started, a very antsy group awaited them, most having stuffed themselves into position an hour or so before the music began. To be honest, fun. is such a newly formed group that I hadn't heard a thing about their live performances, so I didn't know exactly what to expect.

30 seconds into the show, however, and it became clear that any reservations on my part were unfounded; it was also clear that the crowd came well prepared. As Ruess began the first lines of the first number, "Be Calm," it seemed as if everyone in the place not only recognized the song, but knew it by heart - despite the fact that the band's debut album had been released less than two months ago (even the band looked impressed!). What followed was something like a frenetic sing-a-long in which the band and audience connected like I'd never seen before. The boys (and girl) on stage were sharp, with Ruess flailing around with the mic, squarely hitting even the highest notes (and that's saying something) while the rest stayed busy behind him on keys, drums, bass, guitar and more, easily making up for the lack of orchestration found throughout most of the album cuts. The leaner versions of the songs were just as energetic and lively, and whenever Ruess needed a backing choir - the crowd was there to help him out. At one point, during "Barlights," he ambitiously had the audience singing THREE distinct parts, and what's more spectacular is that it actually worked, creating an atmosphere that was nothing short of euphoric.

fun. played through their entire debut (ten songs), an appropriate Format cover ("The First Single") and one new number, which was the only three minutes during which Ruess was able to sing alone. Highlights from the evening included the single from the debut record, "At Least I'm Not as Sad (As I Used to Be)," "Walk the Dog" and their two-song encore, the intimate and romantic "The Gambler," and finally "Take Your Time Coming Home." An hour didn't feel long enough, but the band didn't exactly have much more material to play, so we had to be satisfied with what we were given - and despite its brevity, I think everyone felt their $10 had been well earned. I hadn't had such a fun (pun intended, but accurate) time at a show in quite a while and was left with a renewed belief in the power of pop music - I highly recommend fun. to you as fantastic live act.

I won't provide you with any of the pictures I took as I couldn't get a decent shot (or really even see the band most of the time), but you can take a look at the set list below, and see their MySpace page for tour dates.

1. Be Calm
2. Benson Hedges
3. I Wanna Be the One
4. Walking the Dog
5. Stitch Me Up (New Song)
6. The First Single (Format Cover)
7. Light a Roman Candle With Me
8. All the Pretty Girls
9. At Least I'm Not as Sad (as I Used to Be)
10. Barlights

Encore:

11. The Gambler
12. Take Your Time (Coming Home)

Review: Gentleman Auction House - Alphabet Graveyard (* * * *)

Though I've already put up my "Top 25 of 2008" list, I'm still getting a hold of some very worthwhile new music from the past year. I completely missed out on Gentleman Auction House when they released their debut album, Alphabet Graveyard, in July, but I'm glad to be late rather than never; I've been listening to this pretty obsessively over the last week or so. The seven-piece group from Missouri, led by Eric Enger, make energetic, melodic, and intelligent indie pop that is infectious and exciting.

In the album's liner notes, three members of Gentleman Auction House are credited with playing drums or percussion and three with guitar, while a variety of other instruments (trumpet, keys, glockenspiel, etc.) are mentioned as well. With this many people doing so many things, Alphabet Graveyard could easily have become bloated or unnecessarily noisy, but the band show a remarkable amount of maturity and restraint. The arrangements feel carefully constructed and the music is tastefully executed, even at the album's oddest moments. It's a little goofy but also quite sincere, think a slightly less bombastic and more accessible Los Campesinos with a shot of funk.

The record starts with the stomping rhythm of "ABCDEFGraveyard," a fun tune with a stop-and-start beat ending with a percussion-heavy "na na na" chorus. Following is the album's first single, "Call It Casual," complete with explosive horns, boy/girl harmonies, and a rap-rock bridge. Once again, it might seem like too much, but the band pull off both tracks with style. The groovy "I Sleep In A Bed Of Scissor Arms" and the epic closer "Good Son" are a couple of my other favorites, though the best part about the album is its consistency; there's truly not a weak song to be found. It's clear that Gentleman Auction House are out to have (and provide) a good time, and they certainly succeed. Alphabet Graveyard does have it's more somber moments, but even at his most dour, Enger still sounds fairly cheerful.

Quirky, melodic, and a little abstract, Alphabet Graveyard has just the right amount of variation and experimentation to make for a thoroughly interesting listen. With strong songwriting, impressive musicianship, and a fresh, fun sound, Gentleman Auction House is a band worth keeping your ears on.
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Christmas In Love - Gentleman Auction House have also recently released a Christmas EP called "Christmas In Love," which provides another dose of their unique indie sound for the holidays. It's a fun set of tunes, several of which you can hear on their MySpace page (link below).

Gentleman Auction House's MySpace Page

Concert Review: Fleet Foxes (* * * * *)

Since hearing their stellar debut earlier this year, I've been dying to see Fleet Foxes in concert. I was a little worried that my high expectations wouldn't quite be met, but that fear proved to be unfounded as I was totally blown away by this young band's performance. The venue, a small, crowded music club called "In The Venue," seems an unlikely place to have a transcendent musical experience, but it was packed full of people hoping for just that.

First though, we were all treated to the twangy, blues folk of opener Frank Fairfield. If I didn't know better, I would say Frank had arrived via time machine directly into the club from somewhere in the deep south circa 1940. His carefully parted hair, slightly antiquated dress, and worn instruments (banjo, fiddle, guitar) combined with his muddled, howled vocals made for a truly unique show. It was clear Frank was extremely talented and sincere, though his delivery and his voice became a bit grating after a few tunes. I probably haven't captured the experience well, so check out his MySpace page for live concert videos. Trust me, it's worth a look.

As Fleet Foxes made their way from the back of the club to the stage, two things crossed my mind: 1. Whoa, Robin Pecknold just brushed my shoulder! and 2. Maybe Frank picked these guys up on his way here as he flew through the 70s. Sporting mountain-man beards and long hair, Fleet Foxes looked a little like an old folk-rock band on a reunion tour. After a few minutes of noodling around with the equipment, they starting singing their A Capella opener "Sun Giant" to the eager crowd. I was stunned, amazed, absolutely blown away that four guys (guitarist Skye Skjelset is the only one who doesn't get a mic, or a beard for that matter) could harmonize so well. It was only a couple minutes long, but it was worth the price of admission.

After that, the band continued with the full-bodied "Sun It Rises," and "Drops In The River," sounding just as unified with the two guitarists, drummer Joshua Tillman, bassist Christian Wargo, and keyboardist/mandolinist Casey Wescott all proving themselves more than able. At no point did the band ever seem anxious, uncomfortable, or jittery, though they did all look a little road-weary. Some highlights include "White Winter Hymnal," "Mykanos," and my personal favorite of the evening, "Ragged Wood," which showcased Robin Pecknold's impressive vocal ability (There's nothiiiiiiing, I can dooo-ooo-ooo-ooo!).

Though each band member seemed crucial to the Fleet Foxes' unique sound and presentation, credit should be given to Pecknold, who gave an obvious 110 percent throughout the set. He sang with such fervor that his voice started to get just a touch scratchy by the end of the show. On two occasions the band took a breather while Pecknold played a couple solo numbers, including the gorgeous "Oliver James" and an old folk tune called "Katy Cruel," both of which were exceptional. This young singer/songwriter just about oozes talent.

The band played through most (if not all) of their catalog, throwing in a couple covers and a new song (which was amazing, of course) and the set lasted for an hour and twenty minutes or so. I know I've raved about the performance to the point of exhaustion, but this was a truly special experience. Make it a priority to see these guys play as soon as possible; you'll be glad you did.


Set List
Sun Giant
Sun It Rises
Drops In The River
English House
White Winter Hymnal
Ragged Wood
Your Protector
Crayon Angels (Judy Sill cover, Pecknold Solo)
Oliver James (Pecknold Solo)
Quiet Houses
He Doesn't Know Why
Mykonos
Katy Cruel (Old folk song cover, Pecknold Solo)
Tiger Mountain Peasant Song (Pecknold Solo)
(New Song!)
Blue Ridge

Review: Annuals - Such Fun (* * * *)

You might have noticed the cover art of Annuals new album Such Fun is by none other than Bob Ross, the late painting-made-easy guru famous for his perm-fro hair and "happy trees" artistic style. When asked about the connection, Annuals had the following to say:

"The way that Bob made his paintings, and the way he paints in particular, is pretty similar to the way that our band makes a record," the band explained. "Bob Ross starts his paintings with simple little smudges and blotches, making 'happy trees' or 'cute little bridges.' But when it’s finished, and his blotches take form, we see that his paintings are actually intricate landscapes."

While most bands would probably prefer to associate themselves with artists of greater depth and more intricate style, Annuals seem to find something profound in the simplicity of Ross' art. However, simple isn't a word I would use to describe much of their sophomore effort, a wide range of musical styles and complex arrangements supporting the beautiful melodies of singer Adam Baker's crystal clear tenor voice.

Perhaps the idea of simplicity can be linked to Annuals ability to make covering such a broad spectrum of musical ideas with such seaming ease and abundant talent. Throughout Such Fun, the band enhance familiar elements of folk and Americana music with a variety of unique and fascinating flourishes. The beautiful piano on "Springtime," the flowery string arrangements on "Blue Ridge" and the twang-meets-punk of "Down The Mountain" are just a few examples. The music swells from soft, gentle melodies into anthematic rock tunes and back again, often in the same song. It's always interesting and often fantastic.

Annuals occasionally overdo it, attempting to squeeze too many large ideas into small spaces, but Such Fun is a refreshing and, indeed fun, set of 11 tracks that seeks to both surprise and please, and succeeds in both.

Favorite Tracks: "Hardwood Floor," "Springtime," "Down The Mountain"

Get the single and watch the video of the lead single "Confessor" a few posts down!

Review: Horse Feathers - House With No Home (* * * * 1/2)

I'm not sure what the deal is with all of these amazing folk albums being released this year. Maybe I'm just paying more attention, or perhaps the folk music movement is gaining momentum, or maybe the muses have been working overtime to bring us such an impressive array of quality tunes. Whatever the reason, 2008 has been a great year so far, and with this new release by Horse Feathers it gets even better.

Justin Ringle, the singing/songwriting force behind Horse Feathers, sings and writes in a style reminiscent of many past and present folk artists, including Bon Iver and Iron & Wine. Like them, Ringle is primarily concerned with creating mood and atmosphere to make impressions. However, instead of completely embracing music in loneliness and isolation like so many of his peers, he works closely with people like multi-instrumentalist Peter Broderick to arrange and fill out his otherwise sparse acoustic songs with violin, cello and banjo, enhancing the gorgeous melodies and haunting vocals.

The resulting bittersweet sound pervades the album's 11 tracks. Sadness, anger and frustration all take their turn, but never depression. While a few songs, like "Heathen's Kiss," the album's most tense track, sound genuinely dark, somehow Ringle allows the feeling of peace to distill the more disquieting moments, as on the gentle "Helen" and the rollicking "This Is What. The songs swell gently, building momentum and then subsiding as if being exhaled. Ringle's soft tenor voice is just strong enough to carry emotional weight, and at times he almost fades into the background with his songs. Occasionally, cellist Heather Broderick brings further beauty with some well-placed vocal harmony, as on "Working Poor," a definite highlight.

House With No Home requires a certain amount of attention to be fully enjoyed, but with each careful listen the songs appreciate. Horse Feathers have created a truly unique and stunning experience; a quiet triumph that should not be overlooked.

Favorite Tracks: "Rude to Rile, "Working Poor," "This Is What"