W♥M

Photos / Recap: 2023 Rock and Roll Hall of Fame Induction Ceremony and Concert - Barclays Center, Brooklyn NY

2023 Rock and Roll Hall of Fame Induction Ceremony Read More Starkey Hearing Foundation Once again, on a Sunday July afternoon, St. Paul became Tinseltown if only for an evening as the Starkey Hearing Foundation’s So The World May Hear 18th Annual Gala, in support ...

Happy 2024 from W♥M!

We’re humbled and thankful for another year out on the worldwide web (since 2007!) and were proud to have brought you coverage just over 250 shows and events! That total approaches some of our pre-pandemic years like in 2015 when we covered an average of almost one per day and 2024 is already shaping up to be a very busy year as well.

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One of the events we managed to attend was this year’s Rock and Roll Hall of Fame Induction Ceremony and Concert at the Barclays Center in Brooklyn, NY, a true end-of-year music highlight.

The ceremony (which rotates locations between Brooklyn, Cleveland, and Los Angeles) was as noteworthy for the inductee absences (Kate Bush, Rage Against the Machine) as much as for those who did show, and the ceremony was one of the shorter ones in history (with no end jam), perhaps because it was streaming live on Disney+ for the first time.

An abbreviated version will be broadcast on January 1 on ABC at 8pm/7pm Central, streaming next day on Hulu, with the original 4 ½ hour broadcast still archived on Disney+ for their subscribers.

The evening opened strong with Sheryl Crow dueting with Olivia Rodrigo and Stevie Nicks with Laura Dern doing the induction duties before Peter Frampton joined onstage.

The godfather of hip-hop, DJ Kool Herc was visibly moved by his induction, following a passionate speech from LL Cool J.

Chaka Khan was also excited and in fine voice, singing alongside Common, H.E.R., and a still-big wigged Sia, before bringing up her Rufus band mate, to acknowledge the band’s essential contribution to her fifty-year career.

Wham! bandmate Andrew Ridgeley appeared to posthumously induct George Michael, with musical tributes from Miguel feat Jake Clemons, a trench coat-clad Adam Levine, and Country’s Carrie Underwood, an unexpectedly diehard fan of Michael.

A breathlessly exciting in-step tribute from New Edition helped induct The Spinners and Soul Train creator Don Cornelius.

Longtime super fan Big Boi from Outkast inducted no-show Kate Bush, who was paid tribute by St. Vincent, who sang a note-perfect version of “Running Up That Hill”, a thirty-five-year-old hit which found new life on Netflix series, “Stranger Things” (which undoubtedly helped with her voting totals).

90-year-old legend Willie Nelson was given proper royal treatment, singing alongside Chris Stapleton, Dave Matthews, and Sheryl Crow, who all stuck around with Elton John and Brittany Howard to pay tribute to the departed Robbie Robertson with a Band classic song.

Guitarist Jimmy Page was perhaps the biggest surprise of the evening, first appearing on-screen paying homage to innovator Link Wray, before the screen rose to reveal Page himself.

Elton John was present to induct his longtime lyrical collaborator Bernie Taupin, who spoke of diversity and change in his speech, with Elton then playing just one of their many classics.

The ever-political Rage Against the Machine also decided not to appear, except for guitarist Tom Morello, who realized how to use the platform to enunciate the band’s message after their induction by Ice-T, with the most soulful and call-to-action speech of the evening, but the band went without any musical tribute (even though side group Prophets of Rage members were present and rappers like Denzel Curry and Machine Gun Kelly have done worthy cover versions).

If the scale of the stage performance was any barometer of how grateful an artist was to be inducted, Missy Elliott would win that, hands down, with a massive medley performance featuring countless dancers, special effects and routines. Elliott herself was emotionally overcome as Queen Latifah inducted the first female hip-hop artist into the Hall.

(click on any image to see in full / pictures shot without any provided media access)

BARCLAYS CENTER	SHERYL CROW w OLIVIA RODRIGO	SHERYL CROW w STEVIE NICKS
LAURA DERN INDUCTS SHERYL CROW	CROW, NICKS w PETER FRAMPTON	SHERYL CROW SPEECH
LL COOL J INDUCTS DJ KOOL HERC	DJ KOOL HERC	CHAKA KHAN w COMMON
CHAKA KHAN w H.E.R.	CHAKA KHAN w SIA	ANDREW RIDGELEY
MIGUEL w JAKE CLEMONS	ADAM LEVINE	CARRIE UNDERWOOD
NEW EDITION	SOUL TRAIN TRIBUTE	BIG BOI INDUCTS KATE BUSH
ST. VINCENT	DAVE MATTHEWS- WILLIE TRIBUTE	WILLIE, DAVE, CHRIS STAPLETON
CHRIS, WILLIE, SHERYL, DAVE	JAMES PATRICK PAGE	ELTON JOHN INDUCTS BERNIE TAUPIN
BERNIE TAUPIN	ELTON JOHN	ICE-T INDUCTS RATM- TOM MORELLO
QUEEN LATIFAH INDUCTS MISSY	MISSY ELLIOTT	MISSY ELLIOTT SPEECH

JohnC ♥ johnc@weheartmusic.com ♥ X / twitter.com

Flashback: Loney Dear at Music Hall of Williamsburg, Brooklyn (05 May 2009)

Read More Loney Dear The game started with Minnesota's legendary The Honeydogs. The rather large seven-member league, led by star hitter Adam Levy, rose to popularity when they played … Lia Ices Opening up for this First Avenue present show is Lia Ices, who is out touring in support of her third studio album Ices, out now worldwide via Jagjaguar. The new album was co-produced by Benny Sagittarius (the newly formed . …

Loney, Dear made a stop in Brooklyn, New York on May 05, 2009… and, of course, our Kate G is all over this show.

>>>
For years, my Scandinavian Holy Trinity has been set in stone: Jens Lekman, Sondre Lerche, and Erlend Øye. These three men embody everything I love about Nordic pop: catchy melodies, depressing lyrics, and above all, debonair looks (in a lanky, pale, probably-got-beat-up-after-school kind of way). But after last night, I may have to add another Swede to that equation: Emil Svanängen, a.k.a. Loney, Dear.

I had previously seen Loney, Dear (Yes, it’s “Loney,” not “Lonely.” Sorry, Spellcheck.) at Soundfix Lounge, a far more smaller, intimate venue. It was a lovely show, but I wondered if it would translate well into the much bigger Music Hall of Williamsburg.

Lia Ices photo: Laura

Things started off slowly with opener, Lia Ices. Her gradual but fierce, piano-centric ballads reminded me of slightly more subdued Frida Hyvönen. In a way, her sparse instrumentation and morose lyrics set the mood for the rest of the night. The audience remained politely quiet through most of her set, as Ices maintained an enchanting, often hypnotic stage presence. The whole girl-with-a-keyboard outfit has been done several times before, but there’s something strangely haunting about Ices that sets her apart from other singer-songwriters.

The solemn mood was somewhat lifted when Loney Dear took the stage, opening with the steady-building track, “I Was Only Going Out,” from his latest release, Dear John. Several other songs followed a similar format, and in the larger setting with his full band, the tracks were able to flourish into lush, sweeping mini-symphonies.

Loney Dear photo: Laura

Svanängen’s band (which included a keyboardist who eerily resembled a somber Andy Samberg) contributed greatly to the “bigger” sound not usually associated with Loney Dear’s brand of thoughtful pop. Whether it was the more electronic tracks from Dear John or the earlier, orchestral tracks from Loney Noir and Sologne, the band added an exciting, almost urgent edge to Svanängen’s confessional lyrics.

My initial concern of Loney Dear’s quiet demeanor clashing with a larger venue was quickly put to rest. Svanängen has a knack for endearing and warmly funny stage banter, and within moments, the audience was smitten. He even managed to pull of the impossible: an audience sing-along that was not completely awful. Choosing the simple na-na-na-na chorus from “The Meter Marks OK,” Svanängen led the audience like a junior high choir teacher. Considering that the crowd that night mostly consisted of PBR-slinging, hipper-than-thou Brooklynites – it was quite a feat.

Of course, none of it would have been possible without Svanängen’s unassuming and shyly charismatic personality. Whether it was through his heartfelt lyrics or random witticisms, he gave off an immediate sense of likability. It is somewhat telling that the two grown men (both in vaguely corporate attire) behind me had the following conversation midway through the set:

Guy #1: I haven’t been this happy since I was a kid.
Guy #2: This is just beautiful. Beautiful.
Guy #1: I know. I just want to… touch him.

I know how you feel, Guy #1. And just when Svanängen couldn’t get any sweeter, he ended the show with the fitting track, “Dear John.” With just him and his guitar on stage, he sang, “Sleep well, tonight. Sleep while you can.” It was a beautiful ending to an intimate and charming show. So charming, in fact, that Jens, Sondre, and Erlend may have to watch their backs.

Loney Dear at Music Hall of Williamsburg, Brooklyn (05 May 2009) photo by Laura

vu ([email protected]) ♥ weheartmusic.com ♥ facebook.com ♥ twitter.com/weheartmusic

Flashback: Peter Bjorn & John at Music Hall of Williamsburg, Brooklyn (30 April 2009)

Setlist Just the Past Amsterdam It Beats Me Every Time Start to Melt It Don't Move Me Lay It Down Living Thing Nothing to Worry About FA CI LA Objects of My Affection -- Encore -- Stay This Way Young Folks Up Against the Wall Read More Peter Bjorn and John Like many fans, we first discovered Peter Bjorn and John through their big, viral hit ‘Young Folks’ (the song was soooo massive, even a young Kanye West stole the catchy melody). …

Prior to playing Webster Hall, in New York, Peter Bjorn & John, still cashing in that check hit song “Young Folks” (a melody so good that even Kanye West stole it for one of his raps), stopped by the Music Hall of Williamsburg, in Brooklyn, to play with another buzz band, Chairlift, on April 30, 2009. Kate G tells us how it went down.

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Two bands, two synonymous songs. First up, there was Chairlift with their “iPod Nano song” opening for Peter Bjorn & John, the band that brought you the “whistling song.” Were it not for these two songs, I doubt this show would have been a sold-out Ticketmaster event. Despite this, PB&J proved their chops – and in pastel-colored shorts, no less.

Chairlift played to a half-filled venue, and for the most part, the audience seemed half there mentally as well. Perhaps it was the dreary weather or the slow playlist, but there was very little movement among the crowd, save for the occasional headbob or tipsy-girl-in-heels faceplant. Naturally, the audience got excited during their bubbly hit, “Bruises,” but from then on, the band stuck to their mellow, 80’s-revival pop. Lead singer, Caroline Polachek, showed off clear, hypnotizing vocals, but coupled with droning synths and sparse drums, it got lost somewhere in the muddle.

Excitement for Peter Bjorn & John (shortened to PB&J) was buzzing even before they took the stage, as the crew unveiled their straightforward, neon-lit backdrop (complete with word, “backdrop” repeated several times). They opened with the slow-burning “Just the Past,” from their latest album, Living Thing, which had just the right amount of energy to slowly awaken the crowd from their reverie.

The popularity of their breakthrough album, Writer’s Block, was palpable, as favorites like “Amsterdam” and “Objects of My Affection” were greeted with instant cheers and dancing. The audience didn’t seem too familiar with songs from Living Thing, but quickly warmed up to catchier tracks like “The Feeling” and “Nothing to Worry About.”

Much of this was attributed to the band’s infectious, sometimes corny enthusiasm. In his powder blue suit, Peter Morén, flaunted Bowie-inspired dance moves while guitarist Björn Yttling had no problem assuming cheesy rock god poses. Amid the flurry of blog-induced hysteria surrounding the band, such unassuming eagerness was endearing. Besides, how can you hate a band with a drummer who hula hoops?

When they left the stage, an encore was obvious – they hadn’t even played “Young Folks” yet. Unlike the last time I saw them, they didn’t rely on a pre-recorded whistle. I suppose it wasn’t even necessary, as the whole audience took it upon themselves to whistle the all-too familiar melody. After the group whistle, PB&J ended the show with their obligatory make out/break up song, “Up Against the Wall.” Despite the somber nature of the song, the band seemed entirely joyful, jumping around, dancing, and inviting audience members to hula hoop on stage (and failing miserably).

Such enthusiasm made it easy to overlook all the online hype and Twitter-testimonials, claiming Peter was an a**hole. Instead, they were just a band glad to have made it this far. And if they wanted to celebrate such success by playing the bongos in tiny pastel shorts, why stop them?

Peter Bjorn & John at Music Hall of Williamsburg, Brooklyn (30 April 2009) photo by modage

vu ([email protected]) ♥ weheartmusic.com ♥ facebook.com ♥ twitter.com/weheartmusic

Flashback: Headlights at the Bell House, Brooklyn (24 April 2009)

Read More Headlights With only four members, Headlights initially had a more subdued presence than TLL, but they immediately proved their pop prowess with gems like “Market Girl” and “Your Old Street.” Keyboardist Erin Fein provided her signature crystal clear vocals … Love Language Who needs some Love Language? You can currently stream their new record Ruby Red on spotify. These indie rockers from North Carolina put on a show! I caught them three years ago at the Circle Bar in New Orleans. …

Another adventure in Brooklyn with Kate G. This time she attended the Headlights show at the Bell House in Brooklyn, on April 24, 2009. Opening for them was The Love Language.

>>>
About halfway through the opening set of The Love Language, I couldn’t help but notice something odd: where was the flannel? Perhaps it was the slightly warmer weather or the fact that neither bands were from Brooklyn, but it’s a strange sight these days, going to a show with no trace of the hipster staple. The lack of flannel continued onto Headlights’ set, and it was somewhat telling, as both bands offered up refreshing doses of unpretentious, enthusiastic pop.

The Love Language, a six-member troop hailing from Raleigh, North Carolina, proved to be ideal openers for the somewhat more polished Headlights. Stuart McLamb, lead singer and wearer of dilapidated wife-beaters, charmed the stoic audience with his off-beat lyrics and undeniably catchy melodies. There seemed to be an endless supply of tambourines, an occasional accordion, and when Missy the keyboardist started dancing around barefoot, it seemed wholly appropriate. Their entire set gave off the vibe of an indie pop country hoedown.

TLL ended with their fan-favorite, “Lalita,” McLamb’s viciously sweet ode to an ex-girlfriend, and a somewhat creepy, somewhat endearing (but ultimately catchy) cover of Ricky Nelson’s “Hello, Mary Lou.” When their set ended, they left a palpable energy in a crowd, which is always a noteworthy accomplishment for a relatively unknown opening act.

With only four members, Headlights initially had a more subdued presence than TLL, but they immediately proved their pop prowess with gems like “Market Girl” and “Your Old Street.” Keyboardist Erin Fein provided her signature crystal clear vocals, while guitarist Tristan Wright took the lead on some songs, offering a nice contrast with his rougher but equally sweet vocals.

Midway through their set, they called up TLL up to the stage to join them for the stand-out hit from their second album, “Cherry Tulips.” It was obvious the two bands enjoyed touring together, and since this was their final show together, there were several “I love you, man!” moments – punctuated with tambourines and more barefoot hijinks. When they ended the night with “TV,” the two-minute favorite from their debut album, the audience was completely mesmerized. They had just put on a glam-free, wonderfully sincere show in the heart of Brooklyn. Quite a feat for this flannel-free band.

There are only so many alternatives the Merriam-Webster thesaurus can offer for “precious” and “cute,” but Headlights literally exemplified the two when Fein called attention to bassist Nick Sanborn’s sweat-soaked t-shirt. Apparently, his chest hair has the awesome habit of forming a sweat stain in the shape of a perfect heart. Seriously, how twee can you get?

The Love Language at the Bell House, Brooklyn (24 April 2009) photo by Andrew Keller

vu ([email protected]) ♥ weheartmusic.com ♥ facebook.com ♥ twitter.com/weheartmusic

When Animals Attack! part 6: No Sleep Till Brooklyn Edition

When Animals Attack! Please check out previous articles here.

The Reflection of You

BEAR IN HEAVEN
bearinheaven.com

Brooklyn's Bear in Heaven announced their forthcoming album will be called I Love You, It's Cool with "the world's longest, slowest album stream ever" on their website (it's been slowed by 400,000%). Popular websites, such as NPR, The Huff Po and Washington Post, all reported on this.

That was December.

Today (Friday the 13th), the band revealed their first single "The Reflection of You" (at "normal speed") is available on Pitchfork. If you head there, you can find all the track listing and cover artwork.

What they didn't mention on Pitchy is Bear in Heaven's tour dates, which I'll include below. I Love You, It's Cool will be released on April 3rd via Dead Oceans / Hometapes.

3/28/12 - Andy Warhol Museum - Pittsburgh, PA 3/29/12 - Bishop - Bloomington, IN 3/30/12 - Basement - Columbus, OH 3/31/12 - MOTR Pub - Cincinnati, OH 4/01/12 - Luminary Center - St. Louis, MO 4/04/12 - Casbah - San Diego, CA 4/05/12 - The Echo - Los Angeles, CA 4/08/12 - Independent - San Francisco, CA 4/12/12 - Mississippi Studios - Portland, OR 4/13/12 - Crocodile - Seattle, WA 4/14/12 - Biltmore Cabaret - Vancouver, BC 4/17/12 - 7th Street Entry - Minneapolis, MN 4/18/12 - Schubas - Chicago, IL 4/20/12 - Zanzabar - Louisville, KY 4/21/12 - Exit/In - Nashville, TN

4/22/12 - Hi-Tone Cafe - Memphis, TN 4/24/12 - The Parish - Austin, TX 4/25/12 - Fitzgerald's - Houston, TX 4/26/12 - The Bottletree - Birmingham, AL 4/27/12 - The Earl - Atlanta, GA 4/28/12 - Grey Eagle - Asheville, NC 4/29/12 - Kings Barcade - Raleigh, NC 5/01/12 - Black Cat Backstage - Washington, DC 5/02/12 - 1st Unitarian Church - Philadelphia, PA 5/03/12 - Brighton Music Hall - Allston, MA 5/04/12 - La Sala Rossa - Montreal, QC 5/05/12 - The Garrison - Toronto, ON 5/06/12 - The Haunt - Ithaca, NY 5/08/12 - Bowery Ballroom - New York, NY 5/09/12 - Music Hall of Williamsburg - Brooklyn

LUCKY DRAGONS
luckydragons.org

At first, I thought their name was Luck Dragon (a reference to The Neverending Story), but I guess they're just Lucky Dragons.

Once again, they're based out of Brooklyn, and once again, you can hear their album Existers on Pitchfork (if you go directly to their Bandcamp, you can download the first song for free).

Album is out February 14th via Swill Children Records, release shows on February 16th and 17th. More tour dates below:

1/14/12 Gdansk, Poland, Festiwal Dni Muzyki Nowej
1/17/12 Bratislava, Slovakia, A4
1/18/12 Zilina, SLOVAKIA, Stanica
1/23/12 Nijmegen, Netherlands, Extrapool
1/27/12 Los Angeles, CA, Black Box
1/28/12 Los Angeles, CA, Mahasukha Meditation Center
2/15/12 Troy, NY, EMPAC
2/16/12 Brooklyn, NY, Release Party, 285 Kent
2/17/12 New York, NY, Release Party, Printed Matter
3/10/12 Los Angeles, CA, The Smell

FIELD MOUSE
fieldmousemusic.com

I like dreampop bands, so I was pretty happy to see that Filter Magazine just premiered Brooklyn's Field Mouse's single "Glass" on their website (where you can download the song for free).

Field Mouse's upcoming 7" called "You Guys Are Gonna Wake Up My Mom" will be released on February 28th via Small Plates.

If you live in New York, check out their shows:

Saturday, January 14, 2012 - Pianos
Saturday, February 4, 2012 - Lulu's
Thursday, February 16, 2012 - Spike Hill
Wednesday, February 22, 2012 - Union Hall

OLD MONK
freeoldmonk.com

Birds of Belize is the debut album from New York's Old Monk (can I just guess that they're based out of Brooklyn as well?). The album is coming out January 17th, and I am told that the pressed yellow vinyl will come with a download code of the album, plus three bonus tracks ("Monocle", "Class A Stock", "Tartan Lingerie")

If you can't make it to their live Cake Shop residency, you can tune on on January 18th on USTREAM to see them rehearse.

Cake Shop, NYC residency
Wednesday, February 1
Wednesday, February 8
Wednesday, February 15
Wednesday, February 22

GABRIEL AND THE HOUNDS
gabrielandthehounds.com

I don't know if Gabriel Levine (of Takka Takka) is still living in Brooklyn, but according to his press release, his album, Kiss Full of Teeth, was written and recorded around Brooklyn, "living rooms, garages, and in proper studios including community stalwart Seaside Lounge and The National’s garage studio in Ditmas Park".

While the Gabriel and the Hounds' album doesn't come out until February 28th, 2012 (on Ernest Jenning Record Co.), you can get a free download of "The World Unfolds", a track from Kiss Full of Teeth, on Soundcloud.

They have not updated the official website, but his album release show is on:

02.14.12 - Manhattan, NY @ Mercury Lounge

BRIEFLY (not Brooklyn-based):

LEIF(KOLT) www.leifkolt.com I am somewhat confused, but I think this DJ/producer is called "LEIF(kolt)". His latest release is an EP with Dusty Nix and is called Nothing for the Vultures, and was released January 10th. The six track EP is described as a collection of "electro-leaning pop mutations". Preview the video on youtube, details on how to purchase the tracks on leifkolt.com.

YELAWOLF yelawolf.com I was only given a link to the video for Yelawolf's new video "Let's Roll" (watch it in HD on vevo.com). The song is from his latest album, Radioactive, which came out November of last year. What's interesting is the song features an appearance by Kid Rock. I didn't know he was still alive (just kidding, I just haven't heard from Kid R in a while).

UPDATE: We're currently being featured in the popular artist today on The Hype Machine.

vu () ♥ weheartmusic.com ♥ podcast.weheartmusic.com ♥ twitter.com/weheartmusic ♥ +W♥M

We Are Scientists at Music Hall of Williamsburg, Brooklyn (7/17/10)

We Are Scientists - The Great Escape We Are Scientists Tour Dates 07/21/10 Bottom Lounge Chicago, IL 07/23/10 Larimer Lounge Denver, CO 07/26/10 Doug Fir Lounge Portland, OR 07/27/10 media club Vancouver, Can 07/28/10 Neumo's Seattle, WA 08/01/10 Splendour In The Grass 08/03/10 Metro Sydney, Aus* 08/04/10 Princes Of Wales Melbourne, Aus* 08/06/10 Troubadour Los Angeles, ca 08/07/10 Slim's San Francisco, CA 08/08/10 Cellar Door Visalia, CA 08/10/10 Kilby Court Salt Lake City, UT 08/12/10 Record Bar Kansas City, MO 08/13/10 Old Rock House St. Louis, MO 08/14/10 Basement Columbus, OH 08/15/10 Brillobox Pittsburgh, PA 08/19/10 Pukkelpop Festival Kiewit, Belgium 08/21/10 Gampel Open Air , Switzerland 08/23/10 59:1 Munich, Germany 08/24/10 Lido Berlin, Berlin 08/25/10 Knust Hamburg 08/26/10 Luxor Köln, Nordrhein 08/28/10 Leeds Festival Leeds 08/28/10 Reading Festival Reading 08/29/10 Leeds Festival Leeds 09/03/10 Fountain Square Cincinnati, OH * with Ash Discography [2002] Safety, Fun, and Learning (In That Order) [2005] With Love and Squalor [2006] Crap Attack [2008] Brain Thrust Mastery [2010] Barbara

After two and a half grueling days of unsuccessful apartment hunting in Brooklyn, my attitude towards the borough wasn’t particularly fond. So by the time I reached Williamsburg to see We Are Scientists, I was feeling hostile towards anyone who seemed to look as if though lived comfortably in an apartment – whether it be a sprawling brownstone or a shared loft. The audience that night seemed to all have their housing situations in order, as many of them seemed to have come directly from the Siren Music Festival on Coney Island. The concert, which was the festival’s official “afterparty,” was full of sweaty, heat stroke victims, but despite this, they seemed quite forgiving towards the second opening act, Lightspeed Champion, whose act consisted of him pressing buttons on a boombox and belting out soft-rock songs. He oozed with schmaltz, right down to his never nude cut offs, but he seemed to fit in quite nicely in this particular Brooklyn neighborhood.

We Are Scientists took the stage quite late into the night, and Chris Cain and Keith Murray chatted with the audience frequently between songs. They had a booming rapport that reminded me of AM radio talk show hosts, but the audience seemed eager to laugh at all their jokes. Right from the start, they got on the audience’s good side by playing a number of their fan favorites, such as “This Scene is Dead” and “Nobody Move, Nobody Gets Hurt.” The familiar opening bars of the songs were usually met with a deafening scream, and the audience’s vocals usually overpowered that of the band.

Songs off their newest release, Barbara, were greeted with equal enthusiasm. “Nice Guys” was the first song on the setlist, and its repetitive rhythms gave the audience plenty to bounce to. Songs like “Pittsburgh” and “I Don’t Bite” were also seamlessly slipped in with older tracks, and unlike, say at a Weezer show, there was no clear preference for older material over newer material. Their drummer, Andy Burrows, (formerly of Razorlight) was a quiet but steady presence in the background and got quite a few whistles from the tipsy girls in the front. As a fitting way to kick off the encore, the band chose “After Hours,” their ode to endless nights of gallivanting and mild debauchery. However, the prospect of staying out all night is only appealing if you have a place to eventually go home to. Since I was currently homeless, I cut out early, after briefly considering sleeping in the sound guy’s booth.

♥ We Are Scientists

 07/20/2010 20:19:16 ♥ kate () ♥ wearescientists.com ♥ myspace.com ♥ @scientistbros 

Loney Dear, Lia Ices at Music Hall of Williamsburg, Brooklyn (5/5/09)

Loney Dear at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura

For years, my Scandinavian Holy Trinity has been set in stone: Jens Lekman, Sondre Lerche, and Erlend Øye. These three men embody everything I love about Nordic pop: catchy melodies, depressing lyrics, and above all, debonair looks (in a lanky, pale, probably-got-beat-up-after-school kind of way). But after last night, I may have to add another Swede to that equation: Emil Svanängen, a.k.a. Loney, Dear.

I had previously seen Loney, Dear (Yes, it’s “Loney,” not “Lonely.” Sorry, Spellcheck.) at Soundfix Lounge, a far more smaller, intimate venue. It was a lovely show, but I wondered if it would translate well into the much bigger Music Hall of Williamsburg.

Lia Ices at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura Loney Dear at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura Loney Dear at Music Hall of Williamsburg, Brooklyn (05/05/09) ♥ photo by Laura

Things started off slowly with opener, Lia Ices. Her gradual but fierce, piano-centric ballads reminded me of slightly more subdued Frida Hyvönen. In a way, her sparse instrumentation and morose lyrics set the mood for the rest of the night. The audience remained politely quiet through most of her set, as Ices maintained an enchanting, often hypnotic stage presence. The whole girl-with-a-keyboard outfit has been done several times before, but there’s something strangely haunting about Ices that sets her apart from other singer-songwriters.

The solemn mood was somewhat lifted when Loney Dear took the stage, opening with the steady-building track, “I Was Only Going Out,” from his latest release, Dear John. Several other songs followed a similar format, and in the larger setting with his full band, the tracks were able to flourish into lush, sweeping mini-symphonies.

Svanängen’s band (which included a keyboardist who eerily resembled a somber Andy Samberg) contributed greatly to the “bigger” sound not usually associated with Loney Dear’s brand of thoughtful pop. Whether it was the more electronic tracks from Dear John or the earlier, orchestral tracks from Loney Noir and Sologne, the band added an exciting, almost urgent edge to Svanängen’s confessional lyrics.

Loney Dear - Airport Surroundings Loney Dear Tour Dates 05/08/09 Rivoli Toronto, ON 05/09/09 Schuba’s Tavern Chicago, IL 05/10/09 Cedar Cultural Minneapolis, MN 05/13/09 Crocodile Café Seattle, WA 05/14/09 Doug Fir Lounge Portland, OR 05/15/09 Bottom of the Hill SF, CA 05/16/09 Spaceland Los Angeles, CA 05/17/09 UCSD San Diego, CA See Also Jens Lekman http://weheartmus... I'm not gonna claim to have the most macho music collection in the world---nay, my playlists are ...

My initial concern of Loney Dear’s quiet demeanor clashing with a larger venue was quickly put to rest. Svanängen has a knack for endearing and warmly funny stage banter, and within moments, the audience was smitten. He even managed to pull of the impossible: an audience sing-along that was not completely awful. Choosing the simple na-na-na-na chorus from “The Meter Marks OK,” Svanängen led the audience like a junior high choir teacher. Considering that the crowd that night mostly consisted of PBR-slinging, hipper-than-thou Brooklynites – it was quite a feat.

Of course, none of it would have been possible without Svanängen’s unassuming and shyly charismatic personality. Whether it was through his heartfelt lyrics or random witticisms, he gave off an immediate sense of likability. It is somewhat telling that the two grown men (both in vaguely corporate attire) behind me had the following conversation midway through the set:

Guy #1: I haven’t been this happy since I was a kid.
Guy #2: This is just beautiful. Beautiful.
Guy #1: I know. I just want to… touch him.

I know how you feel, Guy #1. And just when Svanängen couldn’t get any sweeter, he ended the show with the fitting track, “Dear John.” With just him and his guitar on stage, he sang, “Sleep well, tonight. Sleep while you can.” It was a beautiful ending to an intimate and charming show. So charming, in fact, that Jens, Sondre, and Erlend may have to watch their backs.

 05/07/2009 23:24:27  ♥ kateg () ♥ loneydear.com ♥ myspace.com/loneydear ♥ liaices.com 

Peter Bjorn & John, Chairlift at Music Hall of Williamsburg, Brooklyn (4/30/09)

Peter Bjorn & John ♥ photo by Jason Tour Dates 05/02/09 Washington DC @ 9:30 Club 07/24/09 Toronto, ON Molson Amph* 07/25/09 Montreal, QC @ Bell Centre* 07/28/09 Bristow, VA @ Nissan Pavilion* 07/31/09 Mansfield, MA Comcast Center* 08/01/09 Atlantic City, NJ @ Borgata* 08/03/09 New York, NY @ MSG* 08/04/09 New York, NY @ MSG* 08/10/09 Seattle, WA @ Key Arena* 08/12/09 Mtn View, CA Shoreline Amph* 08/14/09 Chula Vista, CA @ Cricket Wireless 08/16/09 LA, CA @ Hollywood Bowl* 08/17/09 LA, CA @ Hollywood Bowl* 08/20/09 Santa Barbara County Bow, CA* 08/22/09 Las Vegas, NV @ Pearl* 08/23/09 Phoenix, AZ @ US Airways Ctr* 08/25/09 Salt Lake City, UT @ E Center* 08/27/09 Morrison, CO @ Red Rocks Pav* 08/29/09 Dallas, TX @ Superpages Ctr* 08/30/09 Woodlands Pavilion, TX * 09/01/09 Atlanta, GA @ Lakewood Amp* 09/04/09 Tampa, FL @ Ford Amp* 09/05/09 Sunrise, FL @ Bank Atlantic Ctr* *with Depeche Mode Read More Peter, Bjorn and John http://weheartmus... Speaking of solo album, Peter Morén (you know him as Peter from Peter, Bjorn and John) will also...

Two bands, two synonymous songs. First up, there was Chairlift with their “iPod Nano song” opening for Peter Bjorn & John, the band that brought you the “whistling song.” Were it not for these two songs, I doubt this show would have been a sold-out Ticketmaster event. Despite this, PB&J proved their chops – and in pastel-colored shorts, no less.

Chairlift - Bruises

Chairlift ♥ photo by Jason

PB&J ♥ photo by Jason

PB&J ♥ photo by Jason

Chairlift played to a half-filled venue, and for the most part, the audience seemed half there mentally as well. Perhaps it was the dreary weather or the slow playlist, but there was very little movement among the crowd, save for the occasional headbob or tipsy-girl-in-heels faceplant. Naturally, the audience got excited during their bubbly hit, “Bruises,” but from then on, the band stuck to their mellow, 80’s-revival pop. Lead singer, Caroline Polachek, showed off clear, hypnotizing vocals, but coupled with droning synths and sparse drums, it got lost somewhere in the muddle.

Excitement for PB&J was buzzing even before they took the stage, as the crew unveiled their straightforward, neon-lit backdrop (complete with word, “backdrop” repeated several times). They opened with the slow-burning “Just the Past,” from their latest album, Living Thing, which had just the right amount of energy to slowly awaken the crowd from their reverie.

The popularity of their breakthrough album, Writer’s Block, was palpable, as favorites like “Amsterdam” and “Objects of My Affection” were greeted with instant cheers and dancing. The audience didn’t seem too familiar with songs from Living Thing, but quickly warmed up to catchier tracks like “The Feeling” and “Nothing to Worry About.”

Much of this was attributed to the band’s infectious, sometimes corny enthusiasm. In his powder blue suit, Peter Morén, flaunted Bowie-inspired dance moves while guitarist Björn Yttling had no problem assuming cheesy rock god poses. Amid the flurry of blog-induced hysteria surrounding the band, such unassuming eagerness was endearing. Besides, how can you hate a band with a drummer who hula hoops?

Peter Bjorn & John - Young Folks

When they left the stage, an encore was obvious – they hadn’t even played “Young Folks” yet. Unlike the last time I saw them, they didn’t rely on a pre-recorded whistle. I suppose it wasn’t even necessary, as the whole audience took it upon themselves to whistle the all-too familiar melody. After the group whistle, PB&J ended the show with their obligatory make out/break up song, “Up Against the Wall.” Despite the somber nature of the song, the band seemed entirely joyful, jumping around, dancing, and inviting audience members to hula hoop on stage (and failing miserably).

Such enthusiasm made it easy to overlook all the online hype and Twitter-testimonials, claiming Peter was an asshole. Instead, they were just a band glad to have made it this far. And if they wanted to celebrate such success by playing the bongos in tiny pastel shorts, why stop them?

 05/02/2009 03:58:28 ♥ kateg () ♥ peterbjornandjohn.com ♥ myspace.com/peterbjornandjohn 

Headlights, The Love Language at the Bell House, Brooklyn (4/24/09)

Headlights - Market Girl Headlights Tour Dates 05/07/09 Il Motore Montreal, PQ 05/08/09 Rivoli Cabaret Toronto, ON 05/09/09 Schubas Chicago, IL 05/10/09 Cedar Cultural Center Minn, MN 05/13/09 Crocodile Cafe Seattle, WA 05/14/09 Doug Fir Lounge Portland, OR 05/15/09 Bottom of the Hill SF, CA * with Loney Dear Sweat stain heart ♥ photo by laura

About halfway through the opening set of the Love Language, I couldn’t help but notice something odd: where was the flannel? Perhaps it was the slightly warmer weather or the fact that neither bands were from Brooklyn, but it’s a strange sight these days, going to a show with no trace of the hipster staple. The lack of flannel continued onto Headlights’ set, and it was somewhat telling, as both bands offered up refreshing doses of unpretentious, enthusiastic pop.

The Love Language - Lalita

The Love Language, a six-member troop hailing from Raleigh, North Carolina, proved to be ideal openers for the somewhat more polished Headlights. Stuart McLamb, lead singer and wearer of dilapidated wife-beaters, charmed the stoic audience with his off-beat lyrics and undeniably catchy melodies. There seemed to be an endless supply of tambourines, an occasional accordion, and when Missy the keyboardist started dancing around barefoot, it seemed wholly appropriate. Their entire set gave off the vibe of an indie pop country hoedown.

The Love Language ♥ photo by laura
Headlights ♥ photo by laura Headlights ♥ photo by laura
Headlights ♥ photo by laura

TLL ended with their fan-favorite, “Lalita,” McLamb’s viciously sweet ode to an ex-girlfriend, and a somewhat creepy, somewhat endearing (but ultimately catchy) cover of Ricky Nelson’s “Hello, Mary Lou.” When their set ended, they left a palpable energy in a crowd, which is always a noteworthy accomplishment for a relatively unknown opening act.

With only four members, Headlights initially had a more subdued presence than TLL, but they immediately proved their pop prowess with gems like “Market Girl” and “Your Old Street.” Keyboardist Erin Fein provided her signature crystal clear vocals, while guitarist Tristan Wright took the lead on some songs, offering a nice contrast with his rougher but equally sweet vocals.

Midway through their set, they called up TLL up to the stage to join them for the stand-out hit from their second album, “Cherry Tulips.” It was obvious the two bands enjoyed touring together, and since this was their final show together, there were several “I love you, man!” moments – punctuated with tambourines and more barefoot hijinks. When they ended the night with “TV,” the two-minute favorite from their debut album, the audience was completely mesmerized. They had just put on a glam-free, wonderfully sincere show in the heart of Brooklyn. Quite a feat for this flannel-free band.

There are only so many alternatives the Merriam-Webster thesaurus can offer for “precious” and “cute,” but Headlights literally exemplified the two when Fein called attention to bassist Nick Sanborn’s sweat-soaked t-shirt. Apparently his chest hair has the awesome habit of forming a sweat stain in the shape of a perfect heart. Seriously, how twee can you get?

 04/26/2009 21:29:00 ♥ kateg () ♥ headlightsmusic.com/myspace.com ♥ myspace/thelovelanguage