They Might Be Giants Play "Puppet Head" at Rams Head Live

I've seen They Might Be Giants live more times than any other band.  So when my trip to Maryland coincided with their concert at Rams Head Live, I happily ordered a ticket. 

I picked up my ticket at will call, and grabbed a spot at the bar to watch opening act, Moon Hooch.  New York City subway performers until they were snatched up by Mike Doughty for his Yes & Also Yes tour (I actually saw them at Brooklyn Bowl.), Moon Hooch consists of two saxophonists and one drummer.  The saxophone has gained a false sense of nostalgia from hipsters not old enough to actually remember the '80s sax solo, but if you're grooving to Moon Hooch (and lots of people were), it has nothing to do with irony.  They're doing new things with the saxophone, taking it deep into house territory, and putting that electronic dubstep shit to shame.  They call their style "cave music" because it's "more wild, more jagged, more free, and more natural to live in" than a house.  If they're opening a show you're going to, make sure you get there early.

The current five-member incarnation (two Johns, two Dans, and a Marty) of They Might Be Giants kicked things off with the power pop sounds of "You're on Fire," the first track on their latest LP, Nanobots.  TMBG have been doing a lot of publicity for the album, so it was a fitting icebreaker.  Imagine my surprise when they followed it with Factory Showroom's "James K. Polk," with all members bowing in unison at its conclusion.  "You know, we don't know much about Baltimore," admitted Flansburgh.  "But in between here and the hotel, I walked through an intense pocket of adult entertainment."  Linnell likened it to something out of The Wire, while Flans was convinced he had taken a trip on a "scumbag time machine.  I'm from New York City, and I'm usually not scared someone's gonna take my phone."  They then turned the focus inward to the three-tiered layout of the venue: "I'm getting a future science fiction courtroom vibe.  Welcome to the Star Chamber," mocked Flans.

After "The Guitar," which went on a disco tangent, John F. introduced a high-wattage handheld spotlight as a "piece of South American medical equipment."  While Flansburgh divided the audience down the center with the beam of light, Linnell revealed, "A lot of bands are about bringing people together.  We're about pulling them apart."  The left side of the room was instructed to raise their fists and chant, "People! People!"  The right side played the role of the "Apes!"  I was in the center in front of the soundboard, so I was forced to make a decision.  I'm proud to say that in the "Battle for the Planet of the Apes," I moved right and took part in the unprecedented victory for the apes.  "Choke on that, people!" exclaimed ape-leader Flans. 

In front of the video backdrop of an extreme close-up of a human eye, Linnell picked up his bass clarinet for "Cloisonné," with Danny Weinkauf taking his place on keys.  When the Dans traded spots and Linnell strapped on his accordion, I knew it was time for "Doctor Worm."  Segueing into "The Famous Polka" and then "Whistling in the Dark," it was one of the rare moments of the show that flowed well.  On paper, the setlist seems a good cross section of their career, but it wasn't conducive to building momentum.  It may have had something to do with the sound in the club.  The bass should've been much louder, at least as loud as it was for Moon Hooch.  In any case, the crowd just didn't seem that into it, and that was reflected in the performance of the band.  The moments of sheer joy on the faces of the Johns that I've so regularly witnessed were few and far between.  Also noticeable was the lack of f-bombs from Flans, but I've seen them do kids shows with more energy, so that may be irrelevant.

When Linnell pulled out the Kaoss Pad, I had hope for "Wicked Little Critta," but was let down to hear "Insect Hospital," the shortest song they chose to play from Nanobots.  But hey, at least they didn't do "Didn't Kill Me."  Then the Johns put down their instruments and picked up their sock puppets to perform as the Avatars of They.  After cracking jokes about the SCOTUS, they sang "He's Loco," which I'd never heard before, and actually enjoyed a lot.  "Nanobots" went directly into "Birdhouse," and the crowd lost it.  There was the energy they'd been searching for!  Yelling "Puppet Head!" at a TMBG concert has become the equivalent of yelling "Free Bird!"  So it was strange that the only time I haven't heard someone shout it, they actually played it!  Maybe we just need to not request it?  Regardless, I was stoked to finally hear it live for the first time.

The polyphonic lines of "Lost My Mind" were nice, but the band introductions that followed meant the show was nearing its end.  They took the opportunity to run it into the ground, announcing, "I feel like we should have some sort of music for this portion of the show, but we don't."  Having scoped out the crowd earlier for "Battle" ("How many people can have glasses and beards at the same time?  You NPR-loving hippies!"), they tried their hands at discovering the "true nick names" of select concertgoers.  Flans dubbed a fan on the floor "Dianasaurus Ross," and Linnell singled out a balcony member as "Nutella."  "That's funny 'cause I was gonna say Nutello," said John F.  "That's the masculine form," John L. countered.  It was funny, but it wasn't the right time for it.  Though announcing Tesla's name was met with cheers from the nerdy crowd, by the end of the song, the excitement had died.  When "Damn Good Times" is your savior, that's something to worry about.  They attempted to do do a vertical wave over the balconies, but it was done without the enthusiasm of the classic "Violin" waves.  Too little, too late.

I believe this was my 21st TMBG show, so I'm obviously going to be critical.  But something was off for this show.  I'm still pumped for the upcoming in-store in Brooklyn though.  I wouldn't see a band twenty times if they weren't good live.  It was just an off-night.

THEY MIGHT BE GIANTS - 04.06.13 - RAMS HEAD LIVE (1 hour, 59 minutes)

SET -
You're on Fire / James K. Polk / Memo to Human Resources > Celebration > Call You Mom / The Guitar (The Lion Sleeps Tonight) / Battle for the Planet of the Apes / Mammal / Cloisonné / Doctor Worm > The Famous Polka > Whistling in the Dark / Circular Karate Chop / They'll Need a Crane / Insect Hospital / He's Loco / S-E-X-X-Y / Nanobots > Birdhouse in Your Soul / Put Your Hand Inside the Puppet Head / Lost My Mind > Band Intros > Birthday (tease) > Band Intros / Tesla / Damn Good Times / When Will You Die

ENCORE I -
Dead / The Mesopotamians / New York City

ENCORE II -
She's an Angel / Istanbul (Not Constantinople)

Grace Potter Covers the White Stripes to Incite a Riot in Baltimore

While I was watching Fun light up Radio City, I got a text from my brother: "I love her."  The object of his affection?  Grace Potter, who rocked Baltimore's Rams Head Live last night with her band, the Nocturnals.

Dressed in all black with a plunging neckline, the sexy ball of energy that is Grace Potter rocketed into "The Lion the Beast the Beat" to begin the show.  The setlist proceeded in a similar order to a lot of recent GPN shows, with "Ah Mary," "Goodbye Kiss," and "Never Go Back" following.  But it wasn't until Potter announced that it was an "all request set," that things really took off.  After an acoustic "Big White Gate," Grace and the Nocturnals began an a cappella rendition of "Hit the Road Jack" that served as the unifying theme for a "Loneliest Soul" medley.  Even when the song took a trip to "Funky Town," it found its way back to "Hit the Road Jack."  A high-energy tour de force of "Stop the Bus," both parts of "Nothing But the Water," and "Medicine" wrapped things up.

In case you hadn't heard, Baltimoreans were the first to adopt "Seven Nation Army" as a crowd chant as a way to applaud the Ravens: "Ohhh-O-O-O-O-Ohhhh-O!"  While it has now evolved into a worldwide sporting phenomenon, specifically at soccer matches, the cheer has permeated Maryland culture to the point where it has become an acceptable encore chant at non-Jack White concerts.  The audience "ohh-o-ohh"ed until Potter cartwheeled back onto the stage.  And then they played it.  In case you hadn't heard, the Baltimore Ravens are playing in the Super Bowl today, so the crowd went completely apeshit.

Previous Grace Potter & the Nocturnals reviews:
11.17.12 Beacon Theatre
09.22.12 Hersheypark Stadium, Farm Aid
06.14.12 Irving Plaza


GRACE POTTER & THE NOCTURNALS - 02.02.13 - RAMS HEAD LIVE

SET -
The Lion the Beast the Beat / Ah Mary / Goodbye Kiss / Never Go Back / 2:22 / The Divide / Tiny Light / Stars / Big White Gate / Hit the Road Jack > Loneliest Soul > Hit the Road Jack > Funky Town > Hit the Road Jack > Loneliest Soul / Keepsake / Runaway / Stop the Bus > Nothing But the Water (I) > Nothing But the Water (II) > Medicine

ENCORE -
Turntable / Seven Nation Army / Paris (Ooh La La)

Jimmie's Chicken Shack Celebrates 20th Anniversary at Rams Head Live

I'm still picking the feathers out of my hair from last night's 20th anniversary Jimmie's Chicken Shack show at Rams Head Live, where for over two hours, almost every incarnation of the band, including the original four members, rocked out more than twenty songs spanning their discography.

Pushing the Salmanilla Envelope is one of my favorite albums ever.  The consummate alternative rock record record, it teams tribal drums with searing slap bass, and crunchy guitars with aggressive, yet listless lyrics.  When I heard JCS were playing it in its entirety at Rams Head Live, I bought both a concert ticket and a bus ticket to Maryland.

The venue filled up as HFS DJ Neci introduced the band, with the current lineup of Island Styles, Christian Valiente, Jerome Maffeo, and of course Jimi Haha taking their places on the wide stage.  Now in his mid-forties, sporting a wedding ring and a distended Frank Zappa t-shirt, Haha looked a tad older, but the years evaporated quickly as they launched into a high-energy combo of "Hole" and "School Bus."  Although the show was advertised as a celebration of 20 years of misses, you wouldn't know it from the crowd of diehards, yelling along to all the words.  After the opening salvo, Haha remarked that the show was over and you could find the band at DaveMatthewsBand.com.  "Oh, wait.  We have a couple more songs left," he teased, holding up a setlist.  "I don't always write a setlist, and when I do, it's got 20-fucking-7 songs on it."  They followed with "Sitting with the Dog" and "Outhouse," which may have been played a little prematurely considering the lineup at that point.  The audience felt so too, as things remained fairly tame, most people standing in one place as they called out the lyrics.  Jimi noticed, and said that while he didn't condone moshing, it would be nice if the crowd would collectively bounce, "always up and down, never side to side."

Naturally, this served as an invitation to mosh, and a pit opened up for "Dropping Anchor" that would remain for most of the show.  "This is Not Hell" had Jimi doing his classic tick-tocking back and forth during the melodic guitar intro, and afterwards, he commented that he could feel his heart and brain pounding... but in a good way.  "If I drop dead from an aneurysm, it's gonna be a fucking awesome show," he offered.  "Isn't anybody gonna yell 'Freebird' or 'Play Bliss' or something?  'Bliss' is our 'Freebird' and we haven't played it in like 15 years," he said.  And they played it in true "Freebird" fashion, with three guitars as Matt Jones joined in.  Haha messed up the start of "Mutha Luvas," and put on the "wig of shame," an Afro-puffed hairpiece.  It would be the only track off their most recent album to be performed.  Christian was traded out for bassist Derrick Dorsey to the tune of "Frosty the Snowman" supplied by Matt's guitar.  After a trio of Re.Present ditties, the crowd began to get a little restless, and started hollering out song titles.  Jimi replied, "You got 'Bliss.' We're not playing 'Inside' and we're not gonna do 'Remember' either.  If you wanna make a cover band, call it Jimmie's Lickin' Sack and you can play all the fucking songs we didn't play here."  He opened the blue cooler that sat center stage between the drum kits, procured a bottle of Patrón, and took a generous swig before passing it around.

Mike Sipple and Dave "Double D" Dowling arrived for "Pure" to usher in the Bring Your Own Stereo portion of the set, with Ché Lemon making his first appearance on "Lazy Boy Dash."  It was immediately apparent how much better a drummer Sipple is than Maffeo, and the boys played on through "Spiraling" and "String of Pearls."  Identifying  the scent of weed in the building, Haha asked that joints be thrown onto the stage.  Holding up a cigarette that was tossed, he proclaimed, "This is not a joint.  I will smoke it later, but this is not a joint."  For "Do Right," their one legitimate hit at #12 on Billboard's Top Modern Rock Tracks, Jimi updated the lyric to  "And now you see a ring" to account for his wedding band.  To heighten the drama before the finale, they slowed things down with "30 Days," marking its second performance ever.

"Let's bring out the original recipe in this bitch.  And I'm keepin' my shirt on," Jimi said, as the other founding Jims, McD and Chaney, took their spots with Haha and Ché.  After a brief history of the band's formation, they busted out "Return to Sender."  The band was back!  McD's guitarwork showed hints of the blues that the night's previous axemen did not have, and despite not having all played together in 15 years, they were remarkably tight.  "Spiderweb," as on the album, featured a rap from a beefed-up H1, and although he flubbed a couple stanzas, the energy on the floor was fucking out of control, so it didn't matter in the slightest.  "Another Day," "Blood," and "High," followed, each exceeding the next in energy.  Before the final song, Haha thanked everyone, especially his ten bandmates that made it, which were all aside from two Re.Present-era members, Casey Hean and Kevin Murphy.  He revealed that "Milk" was inspired by the fun of the Baltimore-Washington-Annapolis music scene, specifically local band All Mighty Senators. Unfortunately, AMS frontman Landis Expandis was likely hosting karaoke at Hampden's Hon Bar, but with two drummers, two bassists, and four guitarists powering through the song, as well as another H1 rhymefest, no one was thinking about those who weren't in attendance.  In true JCS fashion, there was no encore, but the band emptied out an envelope of feathers onto the crowd before posing for a few reunion photos.

Rarely do I wish that I was older, but last night was one occasion.  The first time I saw Jimmie's Chicken Shack, the lineup was the originals minus McD, who had been replaced by Double D.  After the Rams Head set, it was staggeringly clear to me that the three Jims and a Ché JCS had a chemistry that was never replicated in the band's 20-year history.

JIMMIE'S CHICKEN SHACK - 01.11.13 - RAMS HEAD LIVE (2 hours, 5 minutes)

SET -
Hole > School Bus / Sitting with the Dog / Outhouse / Dropping Anchor / When You Die You're Dead / This is Not Hell / Bliss / Mutha Luvas / Frosty the Snowman (tease) / Dead Sleep / Living with Ghosts / Jam / Beautiful / Pure / Lazy Boy Dash / Spiraling / String of Pearls / Do Right / Jam / 30 Days / Return to Sender / Spiderweb (feat. H1) / Another Day / Blood / High / Milk (feat. H1)

Too Much NyQuil: Donavon Frankenreiter at Baltimore's 8x10

My brother Greg made an impulse decision to see Donavon Frankenreiter play at the 8x10 in Baltimore a few nights ago.  I'm going to cull together a review from the texts and pics he sent.

Disappointed by Donny's new band when he saw them in Dewey Beach in August, he was pleasantly surprised by an even newer rhythm section onstage.  "Two songs in, they're already better," he texted, with Donavon opening with two mellow numbers "Lullaby" and "West Coast Fool," far cries from his tendency to start off funky.  Following "Too Much Water" Donavon admitted that had been sick for a few days, but was feeling better.  He did, however, pass his illness onto Matt Grundy, who he said was on "too much NyQuil," though his performance, even on harmonica, wasn't affected.  After a badass sax solo by the keyboardist on "Heading Home," Donny and the boys played the obligatory "Free."  They closed the set with a tasty funk sandwich of "Move by Yourself" and "Byron Jam" with relative rarity "Girl Like You" as the meat.

Tender tune "Butterfly" (which is the song I'm always hoping for, lucky bastard) ushered in a three-song encore that included Tom Petty's "American Girl" and the singalong that will forever end Frankenreiter's concerts, "It Don't Matter."  Donny amazingly tossed the microphone into the balcony to allow an upper-decker to sing the chorus, and then recoiled it for another crowdmember to take the stage karaoke-style.

Before the tour finishes, be sure to enter the Play a Concert with Donavon Contest.  If you are in the city of the show (Tonight they're in Knoxville.), and have an acoustic guitar and some original songs, you might be lucky enough to open.  And be sure to read my Donavon Frankenreiter Brooklyn Bowl reviews here and here.  Thanks, bro.

DONAVON FRANKENREITER - 11.04.12 - 8 X 10 (1 hour, 17 minutes)

SET -

Lullaby / West Coast Fool / Life, Love, & Laughter / Lovely Day / Too Much Water / Bend in the Road / What'cha Know About / Start Livin' / Heading Home / Free / Move by Yourself / Girl Like You / That's Too Bad (Byron Jam)

ENCORE -

Butterfly / American Girl / It Don't Matter