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Flashback: Weezer at Hammerstein Ballroom, New York (31 Oct 2009)

Setlist Seven Nation Army (The White Stripes cover) (Instrumental) Hash Pipe Undone - The Sweater Song Troublemaker Surf Wax America I'm Your Daddy Perfect Situation Dope Nose (If You're Wondering If I Want You To) I Want You To with Leighton Meester Say It Ain't So War Pigs (Black Sabbath cover) Why Bother? Tired of Sex My Name Is Jonas Can't Stop Partying (Rivers Cuomo song) Pork and Beans -- Encore -- Island in the Sun Beverly Hills -- Encore 2 -- Kids / Poker Face Buddy Holly Read More Weezer Weezer's singer Rivers Cuomo brought out his dad, Frank Cuomo, and they play "Back to the Shack". One of the most touching things I have witness in my many years of watching Weezer shows. …

Everybody knows that Rocktober ends on Halloween… and usually those Halloween shows are special. In the case of Weezer in New York, we had a special Gossip Girl appearance. Audience came dressed up, so watching the crowd is as fun as watching the band on stage.

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To fully grasp the emotional scope of this review, you should know three things:

1. My first kiss took place at a seventh grade Halloween party with some dude named Eugene. “El Scorcho” was playing in the background.

2. My first non-paste-eating boyfriend was my ninth grade algebra tutor, who bore an uncanny resemblance to Green Album-era Rivers, minus the braces.

3. In high school I was co-president of a dedicated Weezer fanclub called The Cuomosexuals. We mostly dissected Pinkerton lyrics, line by line.

Needless to say, this show (on Halloween, of all days) carried quite a bit of sentimental weight for me. Like most seasoned fans, I’ve pretty much abandoned all hope of Weezer ever releasing anything remotely listenable, yet I’m still willing to brave Ticketmaster fees just to hear “Tired of Sex” – even if that means sitting through gems like “We Are All on Drugs” and “Can’t Stop Partying.” In terms of band-fanbase relationships, Rivers is Sid Vicious, and we old-school fans are doped up, masochistic Nancy.

Matt & Kim photo by Konstantin Sergeyev

The show was at the sprawling Hammerstein Ballroom, an odd place to see the opening act: Matt & Kim. (Unnecessary Personal Fact #4: My friends and I saw Matt & Kim right after our senior prom. This night truly was high school redux.) I’ve seen them play in the backroom of a Texan bar and the bowels of a Brooklyn brewery, but this venue was by far the strangest. Despite this, they were as hyper as ever, dressed up as Andy Warhol and Edie Sedgwick and hurling candy and condoms into the audience. They won the crowd over by using “The Final Countdown” to segue into “Daylight.” Yes, they had t-shirt guns and giant inflatable spiders, and they were playing in a 1200-capacity ballroom – but there was no denying that this was the same band I saw after my senior prom.

Alas, if that was only the same case for Weezer. I should go ahead and say that I had a fucking amazing time. I was front row at a Weezer show, mere inches away from Rivers. This was the epitome of my high school fantasies. But something was amiss. This may have had something to do with the fact that they came out dressed like insects.

Yes, when Weezer took the stage, Brian was as a beetle, Pat was a praying mantis, Scott was something vague and sparkly, and Rivers –ever the Kiss fan—was a big, fuzzy purple spider. It was cheesy and nerdy, two of Weezer’s hallmarks, but what really brought it home was when Rivers stormed onto the stage, one of his many furry appendages got tangled in a microphone stand, causing him to stumble. All of this happened within the first few seconds of “Hash Pipe,” by the way.

Leighton Meester photo by Rachel Esterday

The theatrics were obviously a priority that night. Some of the stranger items of interest: Rivers brought out a ukulele with the sole intention of kicking its ass, Leighton Meester (a.k.a. Blair Waldorf of Gossip Girl fame) made a cameo to help sing some song off of Raditude, Rivers proved to be quite adept with a trampoline, Pat played Rivers’ guitar parts for most of the show, Scott sang “My Name Is Jonas” (blasphemy!), and they ended the first set with their infamous MGMT/Lady Gaga medley. Oh, and Rivers rapped Lil Wayne’s part on “Can’t Stop Partying.” Vanilla Ice would be proud.

As both an insufferable snob and helpless Weezer fan, I was torn. I went beavershit crazy during any song from the first two albums, but during anything post-2001, I’d turn to my friend and shrug, mouthing, Do you know this song? (Yeah, we’re assholes.) Soon I noticed that we were pretty much the only ones not creaming ourselves over a song like “Pork and Beans.” Weezer plays stadiums and ballrooms for a reason – and it’s because of this new breed of diehard fans who unconditionally love Rivers, regardless of his questionable facial hair and fondness for Snuggies. These are the people who close their eyes and sway to “Beverly Hills,” while restlessly checking their Blackberries during “Surf Wax America.” In short, these are Weezer’s true fans, whereas I represent their bitter ex who is stuck in the past with the emotional stretch marks to prove it.

They ended the show with “Buddy Holly,” which was good enough for me. My inner-seventh grader was dying to hear “El Scorcho,” but it went unplayed that night. I’m sure it was for the best, as it wouldn’t have been the same without Eugene.

Weezer at Hammerstein Ballroom, New York (31 Oct 2009) photo by Jason Neely

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Flashback: Kings of Convenience at Bowery Ballroom, New York (10 Sep 2009)

Setlist Me in You 24-25 Peacetime Resistance Rule My World Second to Numb Mrs. Cold Boat Behind Freedom and Its Owner Homesick Cayman Islands Misread Little Kids It's My Party (Lesley Gore cover) -- Encore -- The Build Up Know How with Feist Read More Kings of Convenience At their first show in New York since 2005, Kings of Convenience’s Erlend Øye joked, “This next song will sound like an old one, and you’ll probably cheer. But it’s not.” …

In their first U.S. show in four years, Kings of Convenience returned to America, playing the Bowery Ballroom in New York on September 10, 2009. This was a special night, as singer Feist helped closed out the show.

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Save for their breakout single, “I’d Rather Dance With You,” Kings of Convenience’s music is typically the kind of fare that lulls you into a dreamy sleep or provides an ideal soundtrack to a rainy afternoon. I thought their live show would be just as low key, but coupled with their humor and warmth, Erlend Øye and Eirik Bøe had plenty of surprises (including a special, Mac-compatible friend) to keep anyone from drifting off.

As there was no opening band, there was a palpable sense of excitement within the crowd as Erlend and Eirik finally took the stage. For one thing, their music is quite subdued and most of their songs require silence from the audience to be fully appreciated. For most of the show, the audience adopted sort of a hushed awe as they played, making it one of the most reverent shows I have attended at Bowery Ballroom. As the boys often reminded us, this was their first show in New York in four-and-a-half years, so the audience seemed hellbent on making it special for them. At one point, someone in the audience yelled, “Play some old stuff!” and she was immediately booed into submission. The crowd that night was oddly defensive of the boys, wanting them to feel as welcome and loved as possible. It was sweet, but also somewhat off-putting. This is how cults form, right?

The band made it easy to incite such passion, as they were charming and hilarious all through the set. As a contrast to their lyrical and delicate songs, they told several quirky, amusing anecdotes (including a particularly endearing one about spilling espresso on Eirik’s pants) and Erlend made everyone swoon with his haphazard, quasi-robotic dancing. They even managed to complain about loud photography graciously, posing like pouting male models for two minutes to provide ample material for the cameras. With their offbeat banter and obvious camaraderie, they came off as sort of a melodic, quieter version of Flight of the Conchords – but with tons more street cred, of course.

Oh, and there was music too. The first half of the set was devoted to the upcoming album, Declaration of Dependence. The new songs weren’t a huge departure from their previous material, but they prove that they are masters at crafting perfect, intricate melodies with seamless vocals. They debuted songs like “24-25” and “Mrs. Cold,” and the audience swayed in appreciation. My personal favorite, “Boat Behind,” features jaunty acoustic guitars and a simple “oh-oh-oh” chorus in their signature blend of flawless harmonies.

The second half of the show was all old favorites, including “Misread” and “Little Kids.” They stayed away from their more popular songs, but once again, the audience didn’t seem to mind. Their final song before the encore was a completely unexpected but perfect cover of Leslie Gore’s “It’s My Party.” They sang about Judy and Johnny with such goofy sincerity that they left the audience completely smitten, practically heartbroken for an encore.

Feist photo: Jessica Amaya

They obliged and returned with “The Build-Up,” a duet from their previous album, Riot on an Empty Street. Someone behind me said, “I wonder who’s going to sing the Feist part,” and lo and behold, a voice beckoned from the balcony above us – Feist! The audience let out a collective gasp, Erlend and Eirik grinned like little boys, the photographers elbowed people in the nose for a good shot, and I was filled with the sudden urge to buy an iPod nano. It was a lovely surprise, and she eventually joined them on stage, prompting everyone to go completely ape-shit and inciting a tidal wave of frenzied Tweeting.

But despite this, I left the show in a quiet and happy mood. It was exactly the kind of feelings a good Kings of Convenience song conjures up: a sense of calm that lingers for a while, making you both wistful and hopeful at the same time.

Declaration of Dependence is out October 20, 2009 on Virgin Records.

Kings of Convenience at Bowery Ballroom, New York (10 Sep 2009) photo courtesy of Robyn Lee

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Flashback: Passion Pit at Warehouse Live, Houston (04 June 2009)

Setlist Make Light Better Things Let Your Love Grow Tall Little Secrets I've Got Your Number Folds in Your Hands Moth's Wings Sleepyhead Smile Upon Me -- Encore -- Seaweed Song The Reeling Read More Passion Pit More than a year has passed since Cambridge, MA-based Passion Pit’s breakthrough album, Gossamer (French Kiss Columbia Records) has been released and the indie pop band’s …

Away from her New York scene, Kate G returns to her hometown in Houston, Texas… and complained about the fact that between Dallas and Austin, most bands ignore Houston. We do get some bands, in this case, Passion Pit stopping by the Warehouse Live in Houston in June 2009.

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In terms of concert geography, Houston is screwed. Most bands do the obligatory show in Austin and often stop by Dallas but few deign to swing by polluted, artery-clogged Houston. But when they do stop by, bands often find themselves overwhelmed with enthusiasm, as the musically-deprived audience is simply grateful they are not another Selena cover band. Such was the case with Passion Pit and the Harlem Shakes.

The two bands seemed like appropriate tourmates since they had gained steady momentum through blogs, well-received EPs, and incessant shows up and down the east coast. Not to mention they both looked like walking advertisements for the Salvation Army (as most bands do).

Harlem Shakes photo by Kate G

The Harlem Shakes provided just the right amount of pep to wake up the somewhat restless crowd. Starting with the gradual building “TFO,” they soon moved on to fan favorites like “Nothing But Change Pt. II” and “Sunlight.” Lead singer, Lexy Benaim, occasionally offered sleepy commentary between songs, but for the most part, stuck strictly to singing. The audience caught on quickly to all the “oohs” and “ahs” in their songs and a haphazard sing-a-long could be deciphered every once in a while. As a self-proclaimed cynic when it comes to opening bands (I’ve suffered through way too many My Bloody Valentine disciples), I was impressed.

Passion Pit took the stage to much acclaim and the occasional fangirl squeal (mostly directed to oh-so-dreamy keyboardist, Ian Hultquist). The first song, “Make Light,” reduced the audience to a sweaty mass of frenzied dancing. Aside from their debut album, Manners, the band played a few songs from their fan-favorite Chunk of Change EP, such as “Better Things” and “I’ve Got Your Number.”

I’ve heard a few people criticize lead singer Michael Angelakos’ voice, (Pitchfork lovingly called it “half-eunuch/half-Jeremy Enigk”), but there were no complaints that night, as the arsenal of synthesizers and keyboards seemed to balance everything out. Highlights of the night included “Little Secrets” and “Moth Wings,” as their infectious hooks allowed for plenty of audience participation. Requests for their runaway hit, “Sleepyhead” were heard throughout the night, and when the band finally acquiesced, the audience went –for lack of a better word—apeshit.

For the encore, the band returned with their single, “The Reeling,” another song featuring a catchy chorus sung by a children’s choir, much to the crowd’s delight. By the end of the night, the band seemed genuinely surprised by the Houston audience’s uninhibited gusto. I suppose they weren’t expecting much from a venue situated between a Chinese restaurant and an empty lot.

Passion Pit at Warehouse, Houston (04 June 2009) photo from Ashley Stanford

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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.

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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

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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

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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.

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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

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Pants Yell! - Received Pronunciation

Pants Yell! - Cold Hands Pants Yell! Tour Dates 11/16/09 ZuZu Cambridge, MA 11/20/09 Space Gallery Portland, ME 12/05/09 Bruar Falls Brooklyn, NY

Every couple of months I go through what my friends lovingly call a “twee midlife crisis.” I listen to one too many Tullycraft songs or suddenly find the dulcet tones of the glockenspiel unbearable. During these spells, the only cure is a few hours of Joy Division and some pronounced sulking. And yet, the irresistible jangle always lures me back. In the immortal words of R. Kelly: “My mind’s telling me no, but my body’s telling me yes.” That’s twee for me.

Pants Yell’s newest (and final) album, Received Pronunciation, encapsulates the siren-like influence that indie pop has over me. The vibrant guitars, the charming lyrics, the sugary sweet pessimism: it’s all there. Pants Yell has always been the more understated, precise bands of the pop scene, and they’ve made a name for themselves by crafting intricate, witty pop gems that feel like eloquent inside jokes. From the tentative opening notes of “Frank and Sandy” to the upbeat apology of “To Take,” lead singer and guitarist, Andrew Churchman, proves that the band is able to expand their sound while maintaining the modest sensibilities that have made them
mixtape staples.

First single, “Cold Hands,” displays slightly crunchier guitars than expected and lyrics dripping with wisdom that only hindsight can provide. “I was young, I was selfish, I was in love, but now I’m over it,” Churchman sings with cheerful spite. On their first album, Songs for Sibling, the band embraced the roles of lovable losers, but Received Pronunciation shows them at a new advantage, where they’ve grown up but still have the childish vindictiveness that adults always fall back on. On the hostile-yet-sunny track, “Got to Stop,” Churchman calls out a guy for being an “asshole,” and in the twee world, that’s as close as you’re ever going to get to a Maury-like smackdown.

Although the claws do come out on this album, they are still Pants Yell, after all. Amidst the slew of passive aggressive quips and snide comments, there remains upbeat melodies and hyper-articulate hooks. It’s everything a pop album should be, but with just the right amount of snark to keep it from OD-ing on its own cuteness. So when the time comes for my regularly scheduled twee meltdown, I know I can count on Pants Yell to get me through my inevitable withdrawals.

 11/16/2009 03:54:06 ♥ kateg () ♥ myspace.com/pantsyellmusic ♥ slumberlandrecords.com

El Perro del Mar, Peter Bjorn & John at Webster Hall, New York (11/9/09)

Peter Bjorn & John - Young Folks Peter Bjorn & John Tour Dates 11/11/09 Phoenix Theatre* Toronto 11/12/09 Metro* Chicago, IL 11/13/09 Gargoyle Club* St. Louis, MO 11/14/09 House of Blues* Dallas, TX 11/15/09 La Zona Rosa* Austin, TX 11/17/09 Rialto Theater* Tucson, AZ 11/18/09 House of Blues* San Diego, CA 11/19/09 Great American Music Hall* SF, CA 11/20/09 Great American Music Hall* SF, CA 11/21/09 Club Nokia* LA, CA with El Perro Del Mar 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...

PB&J and El Perro del Mar ♥ photograph by Michelle

At Webster Hall, the perils of sitting in the VIP balcony often outweigh the perks. True, it’s the ideal place for a certified midget like me, and there’s a private bar and quasi-comfortable seating – but one must also put up with being asphyxiated by the many fog machines, the not-so-subtle orgies taking place on the couches, and that one skeezy guy who keeps trying to offer you a flask full of absinthe. (“It’s the nectar of Satan!”)

But last night the VIP balcony was the place to be since it was the location of a historic fist bump between me and Andrew W.K.

I already knew he was set to make a cameo during PB&J’s set, along with a slew of others, but I did not expect our paths to cross. I don’t know what compelled me to lamely offer him my fist the moment I saw him, but all that matters is that he returned it and all was right in the world. Then he left, and I immediately texted my 13 year-old brother, who soon lapsed into an envy-induced coma.

El Perro Del Mar - Gotta Get Smart

Anyway: PB&J. I have to admit, I was really there for opener, El Perro del Mar. I’ve become obsessed with her latest LP, Love is Not Pop, as it is the perfect soundtrack for long nights of procrastination. Although the crowd didn’t seem too familiar with her work, she won them over with her peculiar brand of melancholy dream pop. She stuck to songs mostly from her new album, including her mind-numbingly lovely version of Lou Reed’s “Heavenly Arms.” The absinthe guy next to us dismissed her as “vagina music,” but I was too distracted by my estrogen-fueled state of euphoria to care.

Swede-fest ’09 continued with PB&J, who announced that this was their 10^th anniversary tour. It was easy to distinguish who was who, as Peter was the one in the pink shirt, Bjorn was the one not in the pink shirt, and John was the drummer. It only got slightly confusing during the smorgasbord of cameos that took place throughout their set. Some made perfect sense (El Perro del Mar on “Young Folks,”), some not so much (an L.A. rap duo who remixed an unrecognizable song off of Living Thing). The final cameo was Spank Rock, who seemed like a solid addition to “Nothing to Worry About” but his appearance was much too brief and almost abrupt.

Obviously the most dramatic cameo of the night was Andrew W.K.’s “interpretive” dancing during “It Don’t Move Me.” He didn’t utter a single word the whole time, yet he left the audience virtually speechless. It was spastic and random but ultimately the best moment of the night.

As for the band themselves, they were in top form as usual. Since the last time I saw them in March, people have warmed up considerably towards their newer material and seemed to enjoy it equally as much as anything off Writer’s Block. The band eschewed slower stand-bys for faster, upbeat songs from their first two albums, and they ended the night with the infectious “Objects of My Affection.” I was kind of hoping they’d play the slow burning track, “Up Against the Wall,” but my friend told me not to be greedy. After all, one paradigm-shifting fist bump was good enough for one night.

PB&J ♥ photograph by Michelle

Peter ♥ photograph by Michelle

Andrew W.K. ♥ photograph by Michelle

PB&J ♥ photograph by Michelle

 11/10/2009 02:13:56 ♥ kateg () ♥ peterbjornandjohn.com ♥ myspace.com/peterbjornandjohn 

Weezer, Matt & Kim at Hammerstein Ballroom, New York (10/31/09)

Weezer - The Good Life Weezer Insect Weezer ♥ Hammerstein Ballroom, New York (10/31/09) Tour Dates 12/01/09 Aragon Ballroom Chicago, IL 12/03/09 Eagles Ballroom Milwaukee, WI 12/05/09 Air Canada Center Toronto, ON 12/07/09 Agganis Arena Boston, MA 12/09/09 Patriot Center Washington DC 12/10/09 Susquehanna Philadelphia, PA Discography [1994] Weezer (Blue) [1996] Pinkerton [2001] Weezer (Green) [2002] Maladroit [2005] Make Believe [2008] Weezer (Red) [2009] Raditude Read More Weezer http://weheartmus... There's no additions to the original album, the first disc is relatively short, being barely 40 m...

To fully grasp the emotional scope of this review, you should know three things:

1. My first kiss took place at a seventh grade Halloween party with some dude named Eugene. “El Scorcho” was playing in the background.

2. My first non-paste-eating boyfriend was my ninth grade algebra tutor, who bore an uncanny resemblance to Green Album-era Rivers, minus the braces.

3. In high school I was co-president of a dedicated Weezer fanclub called The Cuomosexuals. We mostly dissected Pinkerton lyrics, line by line.

Needless to say, this show (on Halloween, of all days) carried quite a bit of sentimental weight for me. Like most seasoned fans, I’ve pretty much abandoned all hope of Weezer ever releasing anything remotely listenable, yet I’m still willing to brave Ticketmaster fees just to hear “Tired of Sex” – even if that means sitting through gems like “We Are All on Drugs” and “Can’t Stop Partying.” In terms of band-fanbase relationships, Rivers is Sid Vicious, and we old-school fans are doped up, masochistic Nancy.

The show was at the sprawling Hammerstein Ballroom, an odd place to see the opening act: Matt & Kim. (Unnecessary Personal Fact #4: My friends and I saw Matt & Kim right after our senior prom. This night truly was high school redux.) I’ve seen them play in the backroom of a Texan bar and the bowels of a Brooklyn brewery, but this venue was by far the strangest. Despite this, they were as hyper as ever, dressed up as Andy Warhol and Edie Sedgwick and hurling candy and condoms into the audience. They won the crowd over by using “The Final Countdown” to segue into “Daylight.” Yes, they had t-shirt guns and giant inflatable spiders, and they were playing in a 1200-capacity ballroom – but there was no denying that this was the same band I saw after my senior prom.

Alas, if that was only the same case for Weezer. I should go ahead and say that I had a fucking amazing time. I was front row at a Weezer show, mere inches away from Rivers. This was the epitome of my high school fantasies. But something was amiss. This may have had something to do with the fact that they came out dressed like insects.

Rivers

Yes, when Weezer took the stage, Brian was as a beetle, Pat was a praying mantis, Scott was something vague and sparkly, and Rivers –ever the Kiss fan—was a big, fuzzy purple spider. It was cheesy and nerdy, two of Weezer’s hallmarks, but what really brought it home was when Rivers stormed onto the stage, one of his many furry appendages got tangled in a microphone stand, causing him to stumble. All of this happened within the first few seconds of “Hash Pipe,” by the way.

The theatrics were obviously a priority that night. Some of the stranger items of interest: Rivers brought out a ukulele with the sole intention of kicking its ass, Leighton Meester (a.k.a. Blair Waldorf of Gossip Girl fame) made a cameo to help sing some song off of Raditude, Rivers proved to be quite adept with a trampoline, Pat played Rivers’ guitar parts for most of the show, Scott sang “My Name Is Jonas” (blasphemy!), and they ended the first set with their infamous MGMT/Lady Gaga medley. Oh, and Rivers rapped Lil Wayne’s part on “Can’t Stop Partying.” Vanilla Ice would be proud.

As both an insufferable snob and helpless Weezer fan, I was torn. I went beavershit crazy during any song from the first two albums, but during anything post-2001, I’d turn to my friend and shrug, mouthing, Do you know this song? (Yeah, we’re assholes.) Soon I noticed that we were pretty much the only ones not creaming ourselves over a song like “Pork and Beans.” Weezer plays stadiums and ballrooms for a reason – and it’s because of this new breed of diehard fans who unconditionally love Rivers, regardless of his questionable facial hair and fondness for Snuggies. These are the people who close their eyes and sway to “Beverly Hills,” while restlessly checking their Blackberries during “Surf Wax America.” In short, these are Weezer’s true fans, whereas I represent their bitter ex who is stuck in the past with the emotional stretch marks to prove it.

They ended the show with “Buddy Holly,” which was good enough for me. My inner-seventh grader was dying to hear “El Scorcho,” but it went unplayed that night. I’m sure it was for the best, as it wouldn’t have been the same without Eugene.

Matt & Kim

Rivers and Brian

Rivers and Leighton Meester

Weezer

 11/01/2009 15:16:06 ♥ kateg () ♥ www.weezer.com ♥ myspace.com/weezer

 

Thao with the Get Down Stay Down – Know Better Learn Faster

Know Better Learn Faster Thao With the Get Down Stay Down Tour Dates 10/15/09 SoHo Santa Barbara, CA 10/16/09 Echoplex Los Angeles, CA 10/17/09 Crepe Place Santa Cruz,CA 10/18/09 Treasure Island Festival SF, CA 10/21/09 Doug Fir Lounge Portland, OR 10/22/09 Chop Suey Seattle, WA 10/23/09 Biltmore Cabaret Vancouver,BC 10/24/09 Empyrean Coffee   Spokane,WA 10/27/09 Cedar Cultural  Minneapolis,MN 10/28/09 Turner Hall Milwaulkie, WI 10/29/09 Canopy Club Urbana, IL 10/30/09 Empty Bottle Chicago, IL 10/31/09 Cafe at Majestic  Detroit, MI 11/01/09 El Mocambo Toronto, ON 11/02/09 Il Motore Montreal, Quebec 11/03/09 Middle East   Cambridge, MA 11/04/09 Bowery Ballroom New York 11/05/09 1st Unitarian Church Phila, PA 11/06/09 Black Cat Washington, DC 11/07/09 Canal Club   Richmond, VA 11/09/09 EARL Atlanta, Georgia 11/11/09 Warehouse Live Houston, TX 11/12/09 Mohawk Austin, TX 11/13/09 Lola’s Ft Worth, TX 11/14/09 Jake’s Lubbock, TX 11/17/09 Rhythm Room Phoenix, AZ 11/18/09 Plush Tucson, AZ 11/19/09 Casbah San Diego 11/20/09 Glass House Pamona, CA Discography [2008] We Brave Bee Stings and All [2009] Know Better Learn Faster Free Download Free download "Know Better Learn Faster" at Kill Rock Stars. Know Better Learn Faster LP with digital download currently on sale for $7.99 (excellent price!) Read More Thao and the Get Down Stay Down http://weheartmus... There's a lot of buzz around this singer, Thao Nguyen and the Get Down Stay Down (seriously, jus...

My favorite songs are about rejection, despair, and soul-crushing loneliness. I also like songs that make you dance like an inebriated uncle. For me, these two qualities are not mutually exclusive. On Thao Nguyen’s latest album, Know Better Learn Faster, she provides me with plenty of material with which to dance/cry, a combination that I’m sure is freaking out my roommate.

Know Better Learn Faster starts off with a room full of clapping and hollering. “If this is how you want it, okay, okay,” sings Nguyen, along with a chorus of mournful voices. It’s a haunting dirge that quickly turns into a stomping hoedown, and it acts as an oddly appropriate segue into the next song, “Cool Yourself.” The chorus of voices returns for the oh-whoa-whoa refrain, and they make several appearances through out the album, providing a crowded, communal tone. It may not be a total Andrew W.K. vibe, but there’s definitely a party happening on this record.

Thao Nguyen - Feet Asleep

But even at its most infectious, the album’s lyrics always hint at something slightly darker. On the rambunctious “When We Swam,” Nguyen mourns the loss of a drowned relationship, all the while luring in listeners with the instantly danceable chorus: “bring your hips, bring your hips to me.” As seen on previous album, We Brave Bee Stings and All, Nguyen showcases a recklessly bold and honest style of songwriting. “What am I, just a body in your bed?” she demands on the deceptively buoyant, “Body.” Even under a smokescreen of handclaps and cheerful sing-a-long refrains, there’s no denying the flare of aggression in her voice.

It would be easy to become overwhelmed by the album’s chaotic energy, but there are several respites from the party scattered throughout the album. “The Give” is definitely more subdued and reflective than the first four tracks, but it is by no means quiet. Taking on the persona of a family patriarch, Nguyen spins a bittersweet narrative about broken promises and tokens of regret. It seems like an unlikely interlude within such an upbeat album, but the melancholy tone weaves in and out of even the punchier songs. It’s never blatantly obvious, but it lurks in many of the songs, adding a touch of pathos to even the most rowdy choruses.

True, these songs won’t make you weep, but it’s definitely not mindlessly catchy fluff either. So whether you’re looking for something to dance around in your underwear to or something to mull over on the train ride home, you can probably find a good balance of both on this album. Either way, you won’t end up slitting your wrists or waking up to find unsavory pictures of yourself on Facebook. See? Everybody wins.

 10/08/2009 10:11:58 ♥ kateg () ♥ thaomusic.com ♥ myspace.com/thaomusic ♥ twitter.com