The Majorleans Return to Mercury Lounge

Mercury Lounge's most iconic feature had to have been its wall sconces.  The dim incandescent bulbs entrenched in decorative wire cages looked like giant firefly abdomens, just barely illuminating the showroom's brick walls to give it a feel that was somehow simultaneously dingy and classy.  They were even used in the lounge's website design for years until the Bowery Presents overhauled the page to include their other venues.  So imagine my shock last night when I stepped into the room to find them replaced with new fixtures that appear as if someone sliced a scalloped pitcher in half, stuck it over a LED light, and glued it to an elongated octagon made of reflective material streaked with blue wisps.  They look like shit and I don't know what they were thinking.  Almost exactly a year ago, when the original sconces remained, the Majorleans played the Mercury Lounge, unveiling a selection of new tunes that Nicky Francis and Chris Buckle had been workshopping for their next album, Carouser's End.  Last night, the band played all seven songs from the upcoming record.

The set got off to a shaky start, as inconsistent monitor levels had the members struggling to hear each other, with Buckle having difficulty harmonizing during "Mr. Magic."  After some adjustments, the band rallied behind "Give It All to Me," having lived in the Carouser's tunes long enough now that they've become staples.  The older Black Belt numbers benefitted from being reworked as well.  "Imaginary Plane" has always been my least favorite Majorleans song, but for this go-round, they slowed it down, allowing me to hear just how deep the pocket of rhythm section Bongers & Brooks goes.  By the time they'd reached the end of "What I Mean" five songs in, the confidence was visible, Nicky shaking his narrow hips as the crowd clapped for more.  "Once the pendulum starts swinging, it doesn't stop," Francis acknowledged.  "Not in those jeans!" came a teasing rebuttal from a crowdmember.  Trading out his Rickenbacker electric for a Gibson acoustic, Nicky led the band on a duo of Carouser's ditties, "Under the Spell" and "Sunrise Mary," the latter of which was greeted with knowing cheers from the audience.

Almost as big of a surprise as the new lighting on the walls, but entirely more welcome, was the second live performance ever of "Lonesome Seaside Driving School."  Written while driving along the southern coast of France, the introspective and atmospheric ballad stood proudly amid the band's rockers.  Having pulled it off without a hitch, Nicky warned the people, "It's all biscuits in your mouth from here on out, so be ready."  He held onto the Gibson for a terrific "Under Ma Wheels" before returning to the Rick on "Tattoo."  Chris sustained the song's final note to give Francis enough leeway to slap on a capo for their frequent closer and time-tested crowd-pleaser "Never Had Enough."  While it definitely sucks about the sconces, fortunately the Mercury Lounge will always be about the music, first and foremost.

THE MAJORLEANS - 12.07.16 - MERCURY LOUNGE (53 minutes)

SET -

Mr. Magic / Give It All to Me / Imaginary Plane / Set to Receive / What I Mean / Under the Spell / Sunrise Mary / Lonesome Seaside Driving School / Under Ma Wheels / Tattoo > Never Had Enough

Cheerleader Graduate to the Late Show at Mercury Lounge

Philadelphia's hazy power pop band Cheerleader opened the late show last night at their most frequent NYC tour stop, Mercury Lounge.  "A Million Ways" is the single they're currently promoting, so what better way to do that than to open with its shimmery guitars and self-reflective lyrics?  They followed with a brand new song (the first of four) called "Draggin' Me Down," which marked a shift away from their nebulous patina and towards a crunchier pop/rock sound.  After a whistle-less "Do What You Want," bassist Paul Impellizeri addressed the crowd, "Thanks, guys.  We're gonna get a little weird."  Raising his plastic cup, he added, "Cheers to getting weird."  The weirdness manifested itself as a decaying spoken word intro to the second new tune of the night, "I Feel It Coming," which reassured fans that the band hadn't completely traded in their haziness for pop sheen.  Third newbie, "I'm Just Thinkin' It to Myself," was dedicated to headliner, Paperwhite, and Cheerleader made sure to leave the stage nice and toasty for them with a confident "Feel Like That," as guitarist Chris Duran jerked around in angular motions and drummer Carl Bahner bobbed his head and shoulders from side to side.

Don't miss the episode of The Next Round I recorded with them before the gig, and also, don't miss them when they come back through NYC, as I may open for them with some stand-up.

CHEERLEADER - 05.28.16 - MERCURY LOUNGE (39 minutes)

SET -

A Million Ways / Draggin' Me Down* / Perfect Vision / Do What You Want / I Feel It Coming* / The Sunshine of Your Youth / I'm Just Thinkin' It to Myself* / On Your Side / Feel Like That*

Charlie Brand Mercury Lounge Setlist

Review to come.

CHARLIE BRAND - 02.27.15 - MERCURY LOUNGE (33 minutes)

SET -
Night Cactus > Baby Blue Motorcycle / Anasazi Inn / Malibu Yurt / New Highs/New Lows / Zen Whatever / Kool Aid / Temporary Comfort

Howard Spreads Religion at Mercury Lounge

Two Brooklyn bands celebrated their EP release at Mercury Lounge last night.  One band had a definitive sound, but suffered technical troubles.  The other had no equipment issues, but also no objective.

I entered the room to see Craig Martinson in the middle of the stage, facepaint streaked across his nose and cheeks and a string of white Christmas lights knotted around his neck.  Atop his head was a fluorescent yellow beanie, giving him the appearance of a highlighter with its cap off.  He leapt offstage to perform Kanye West's "New Slaves" in tribute to Martin Luther King, Jr.  I'm not so sure that Dr. King would've approved of the dedication, but the crowd seemed to enjoy it, or at least couldn't believe it.  Reclaiming the stage after his rap, Martinson started unveiling the songs from the new EP, titled My Love is True.  The songs were played well, but they lacked direction.  I don't mind eclecticism, but it just didn't seem like Craig knows what he wants to do with his music yet.  "Monster Man" recalled memories of Phil Spector-produced girl groups, while "Your Love is a Burden" was an entirely country affair.  The final number began and finished as baroque pop, but took an unexpected detour into guitar freakout territory in its midsection, Martinson nearly face-planting as his neck lights entangled his legs like a vengeful vine.  He's a unique performer, but until he gains a coherent point-of-view, he just comes across as trying too hard.

Howard were promoting their much-buzzed-about debut, Religion.  Although they've been folded under the folktronica umbrella, that genre doesn't leave room for the hard-edged, driving rock that their songs sometimes flirt with.  Onstage, it became more than just flirting, with album opener "Falling" plunging headfirst into the tribal zone halfway through.  A more accurate description of their sound would be José González fronting Hail to the Thief-era Radiohead, which was especially characteristic of "Song About Something," Howard Feibusch's smooth vocals bobbing over a jittery breakbeat.  Despite Chris Holdridge's SPD-S drum pad not working, "Spelled Out" was a subdued treat, with Feibusch's acoustic guitar interweaving sweetly with its electric brother.  After another fruitless attempt to fix the drum pad, Howard announced "Alright, bear with us.  This is the acoustic version."  Riding in on the organic sound of Holdridge's cymbals and snares, they proceeded with "Her Eyes," a tune from Feibusch and bassist Myles Heffernan's previous band, Orange Television.  "Fool" was probably the standout of the set, Chris' clacking on the rims erupting into a prehistoric climax complete with Pteranodon guitar wails from Howard.

If Martinson's songs sounded too different, Howard's only offense was that some of the tunes sounded too similar.  That could've been the fault of the irrational drum pad, however, so they took one last stab at it.  "Let's all pray to God," Feibusch suggested mockingly.  Chris reeled back and struck it with his drumstick.  "POP!" shouted the pad miraculously.  "There we go.  It works.  Religion works," smirked Feibusch.  "But Only While" quickly displaced any thoughts of the set becoming stagnant with similarity, venturing into a nearly dubstep finale.  "This is the closest thing to a single we've ever written.  So we're going to need a lot of help, especially because a lot of our technology is not working," instructed Feibusch.  "Sing along if you know it.  If you don't, don't."  The crowd clapped along to the first verse of "Money Can't Buy," swaying from side-to-side until Howard's crescendoing jangle demanded their full attention, with bursts of a dying drum pad poking their way into the din.

HOWARD - 01.19.15 - MERCURY LOUNGE (44 minutes)

SET -

Falling > Song About Something / Spelled Out / Her Eyes / Fool / Religion / But Only While (Alarm Call Rise) / Money Can't Buy

The Majorleans Bring Three Guitars to Mercury Lounge

Any martial artist will tell you that a black belt takes time to earn.  So it makes sense that the Majorleans' new album Black Belt took years to make, from recording in a poisonous Chinese church basement to the lead singer's living room to a professional studio, where it was engineered by a Grammy-winner who has worked with everyone from Faith Hill to the Fugees.  The record finally dropped on Tuesday.  Last night, the band took to the Mercury Lounge to celebrate.

The show was opened by Boston's McAlister Drive, or four guys who don't look like they belong in the same band.  If you based them solely on appearance, the bearded, bespectacled guitarist could've been in Beck's backing band, the long-haired drummer from a stoner-rock group, the floppy-haired bassist in a dance-pop outfit, and frontman Christoph Krey fit the part of a bartender at Western-themed watering hole in Bushwick.  Their sound was nothing like the combination of these styles, however.  It was Americana-infused pop-rock.  They weren't bad, but they weren't original enough for me to really care.  That doesn't discount the fact that they are enjoyed by others, including a recently married couple who first met at a McAlister Drive show.  "Thank you for listening to the band all these years.  We write terrible music," said Krey, dedicating "Best Dressed" to the newlyweds.  "This is the part where y'all put your hands together, y'all raise your drinks, and y'all just sing along," instructed Christoph before the final number, "Got It Right."  And exactly how does one clap their hands and raise their drink at the same time without making a huge mess?

While the setlist hasn't changed much in the times I've seen the Majorleans, the addition of a third guitarist, David Andreana, brought a new dynamic to the show.  The triple-guitar attack on the intro to "Mr. Magic" boiled so ferociously that when they turned things down to a simmer for the verse, Nicky Francis' talkin' blues vocals seemed almost sinister.  I don't think I'm off-base by suggesting that the presence of Andreana freed up Francis to concentrate less on his playing and more on his singing.  Take the lyrics in "Never Had Enough," where Francis implores, "I'd like to see you both at the same time with me / I'd like to see you both some time."  While you could interpret this as the desires of his inner monologue, the way he sang it last night felt like he was actually propositioning two women at a party for a threesome.  With a smirk in his voice and drawing out the "both some time" of the second line, he wasn't reiterating; he was correcting a Freudian slip.  The ladies definitely heard him, but they probably smiled and went home with him anyway.  My favorite song from the album, "Real Bad," got the crowd dancing, not to mention the old guy next to me who jumped for joy as soon as he heard the first notes.  Riding the wave of Chris Buckle's feedback on the tail of "See the Seams," "Under Ma Wheels" proved a formidable closer, a fun country rocker that never eased off too much thanks to Colin Brooks' insistent kickdrum and cymbals.

(To learn more about the making of the album, check out the podcast below, recorded at Mission Sound during the Black Belt sessions.)

Although it was the Majorleans' release night, they shared the bill with their longtime friends, Frances Cone.  After eating a banana on the stairs beside the stage, Christina Cone took her spot at the keyboard in the center and began playing "Heartland" from the band's first album, Come Back.  Her bandmates joined her and they launched right into a new song, "Wait Right Here."  Though repetitive in its lyrics, the song eschewed boredom nicely by its variety of sounds: Alex Baron's simultaneous shaker-work during his drumming, bassist Andrew Doherty's vocal harmonies, and a few well-placed handclaps.  The result was a song that you're singing along with before it's over, a testament to the band's writing abilities. "Better Man" underwent another remake, as Cone stepped away from her keys, accompanied by Jeff Malinowski's slowly jangling guitar and Alex's mallet-drumming.  Their cover of the Black Keys' "These Days" was excellent, as always, and the hints of classical music in another fresh tune, "Not a Man," proved that the best is on its way from this young group.

MCALISTER DRIVE - 11.21.14 - MERCURY LOUNGE (43 minutes)

SET -
Ocean Skip Away / I Met You* / 22 / Devil's Ghost / Best Dressed / Another Day / United South / Got It Right

THE MAJORLEANS - 11.21.14 - MERCURY LOUNGE (32 minutes, 30 seconds)

SET -
Go Down All the Time / Coal Mine/Cold Mind / Mr. Magic / Never Had Enough / Imaginary Plane / Real Bad / See the Seams > Under Ma Wheels

FRANCES CONE - 11.21.14 - MERCURY LOUNGE (37 minutes)

SET -
Heartland > Wait Right Here > Soon / Better Man / Wiser / Come Back / These Days / Not a Man / So So / 85

Delta Spirit Mercury Lounge Setlist

Review to come.

DELTA SPIRIT - 09.30.14 - MERCURY LOUNGE (1 hour, 37 minutes)

SET -

From Now On / Devil Knows You're Dead / Tear It Up / Empty House / Strange Vine / Live On / Hold My End Up / People C'mon / Take Shelter / Yamaha / Bushwick Blues / Language of the Dead / Trashcan / California / Children / White Table / Parade / Into the Wide / People Turn Around

Fancy Colors Turn Mercury Lounge into Island of the Dead

Last night, Fancy Colors played the early show at Mercury Lounge, treating fans to a set that included the first half of their hours-young album, Island of the Dead (Stream it below.).  Less a George A. Romero spinoff and more a mashup of Talking Heads with a Pure Moods compilation, Island expands on the sound established on 2012's Near Equator.

The band drifted onto the stage without fanfare, singer Zac Colwell wetting his saxophone reed as he double-checked his pedal setup.  Zac thanked the crowd for coming early, and proceeded to lay down a flute loop.  Dave Heilman clacked into "History of Civilization," two drumsticks in each hand, fanned out like antennae.  The song built into a burning groove, at the end of which Zac recorded a new flute loop to segue into "Africa."  They followed that with "Infinity," a highly danceable track from the new record before chilling things out with the single "Love is Easy."  "This one's called 'Island Rose.' It's the theme of the album," announced Colwell, and the band embarked on their best performance of the night.  The dreamy intro gave way to a jaunty bassline, which got damn funky as the song progressed.  Oh yeah, there was a sax solo too.  After the always-welcome "The Way You Walk Away," Colwell questioned his bandmates, "Should I do some stuff?"  "Sure, I love stuff," responded guitarist Steve Wall (who also mastered the album).  The "stuff" consisted of layering sounds made from the sax's neck and the flute's headjoint into a heady goulash before Heilman dropped into the chugging beat of "Castle in the Snow."  Fancy Colors' only weakness is that some of their songs hit this righteous fucking groove and then just end.  "Castle" eschewed this nicely, with Heilman ramping up ferociously as Colwell sang a final crescendoing "castle in the snoooooow."

FANCY COLORS - 06.03.14 - MERCURY LOUNGE (37 minutes, 30 seconds)

SET -
History of Civilization > Africa / Infinity / Love is Easy / Island Rose / The Way You Walk Away / Castle in the Snow

Frances Cone Brings June to Mercury Lounge

It was an absolutely bone-chilling March night.  So cold that the doorman for Mercury Lounge was standing inside.  And he never stands inside.  "It's a different season onstage," announced Frances Cone, ready for summer in a short-sleeved blouse and Daisy Dukes.  Bathed in pink light, the Brooklyn band kicked things off with "Better Man," now sporting a fresh intro that didn't immediately bring to mind "Come on Eileen."  As they made their way through "Come Back" and new tune "Wiser," the band displayed a confidence that wasn't there when I'd first seen them perform.  (Granted, they had previously been booked between two neo-soul singers, and now they were headlining.)  Cone admitted her trepidation before the debut of "June," but it turned out to be the best of the set.  Based around a droning loop, the song built gradually into a soaring, shimmering slice of indie pop.  They literally hopped into "Soon," bringing a taste of country into the mix.  Part of the appeal of Cone is her unique voice, which sounds like the battle between a dulcet ingénue and a raspy femme fatale.  You're never quite sure who's gonna come out on top, and that makes it interesting, especially when she tackles a cover like the Black Keys' "These Days."  The brief, eight-song set came to its close with "Rattles Your Heart."  After a quick "band meeting" at the side of the stage, they returned for an encore of Paul Simon's "Rene & Georgette Magritte with Their Dog After the War."  And we all felt a little warmer inside as we stepped out into the freezing air.

FRANCES CONE - 03.26.14 - MERCURY LOUNGE (38 minutes, 30 seconds)

SET -

Better Man / Come Back / Wiser / June > Soon / These Days / 85 / Rattles Your Heart

ENCORE -

Rene & Georgette Magritte with Their Dog After the War

Robert Ellis & Ian O'Neil Unload a Heap of New Music at Mercury Lounge

"I haven't even played anything and we're having technical difficulties," Ian O'Neil said sheepishly, as he realized the mic pointed at his guitar's sound hole wasn't on.  Creedence's "Green River" seeped out over the PA, and O'Neil's Deer Tick comrade Dennis Ryan started shuffling.  Ian mimed playing the song for a laugh.  With the mic reinstated, it was time to begin.  The duo managed to get through one verse of "Bury Deep" before some atrocious feedback forced them to stop.  O'Neil borrowed headliner Robert Ellis' electric, and started over from the top.  The two followed that with "Walkin Out the Door," one of Ian's Deer Tick numbers.  Ryan moved aside for "I Got Nothing Left to Give to the Toilet," which O'Neil revealed to be a tune by Happiness, the duo's new side project.  Curiously, Dennis was silent for both songs identified as Happiness tracks.  "Oh Lord, Your Fire is with Me" was a slower one, but Ian's gentle "ooh"s had a melody fit for an anthemic pop song.  After covering Neil Young's "Don't Cry No Tears," he played "On the Beach," a Happiness original not to be confused with another song by Young.  Dennis returned to the mic again for "She's Not Spanish" and "The Dream's in the Ditch," a song so catchy that Robert Ellis was onstage singing along by verse two.  Before finishing his set with "Maybellene," O'Neil thanked the crowd for showing up for his first NYC solo gig.  I guess he doesn't count Brooklyn Bowl, where I saw him open for Deer Tick three times.

Robert Ellis kicked things off with "Westbound Train," which grew steadily into a full-on country romp, accented by the wonderful pedal steel of Will Van Horn.  It was the night's only offering from 2011's Photographs, as a week ago, Robert dropped his third album, The Lights from the Chemical Plant.  Refusing to be pigeonholed as just a country artist, Ellis used the new tunes to exemplify his stylistic diversity.  "Pride" wrapped up with a section that verged on prog, and "Steady as the Rising Sun" had a smooth R&B flavor.  "I always tell people they might want to get a pregnancy test after that guitar solo," Robert laughed, commending the talents of Kelly Doyle.  While "Rising Sun" may be the only love song on the record, that distinction only extends to animate objects, with Ellis' affair with television cleverly expressed in "TV Song."  "Not to be confused with the 'TV Song' by Ministry.  We have a lot of crossover fans," he joked.  The band dropped out for the song's Walt Disney verse, allowing Robert to captivate the room solely with his sweet, southern voice.  Ellis went it alone for the somber "Tour Song," and then invited the band back for the propulsive jazz-rock of the brand new "Elephant."  Ellis offered up some time for a Doyle instrumental, and then he put his guitar down.  Grabbing the mic from its stand, Robert dove into "Still Crazy After All These Years," which he covers on Chemical Plant.  It's clearly one of his favorite songs, evident in his enthusiasm whilst singing, but his excitement got the best of him, and it sort of felt like karaoke.  He fared better when he grabbed a Telecaster for a countrified spin on Richard Thompson's "Tear-Stained Letter," assisted on vocals by Dennis Ryan back at the drumkit.  "They have a curfew here, so this is the encore," Ellis remarked as the band embarked on a jam that contained all the creaks and shrieks of a haunted house before it melted into the burning bluegrass of "Sing Along."  Robert has claimed that he wants to avoid gigs at honky-tonk bars because they may not be as receptive to his genre-jumping.  It was obvious that the hip NYC crowd at Mercury Lounge loved it all, especially the country stompers.

IAN O'NEIL - 02.18.14 - MERCURY LOUNGE (36 minutes)

SET -
Bury Deep (aborted) / Bury Deep / Walkin Out the Door / I Got Nothing Left to Give to the Toilet* / Oh Lord, Your Fire is with Me* / Don't Cry No Tears / On the Beach* / She's Not Spanish / The Dream's in the Ditch (feat. Robert Ellis) / Maybellene

ROBERT ELLIS - 02.18.14 - MERCURY LOUNGE (1 hour, 14 minutes)

SET -

Westbound Train / Good Intentions / Pride / Steady as the Rising Sun / TV Song / Only Lies / Houston / Tour Song / Elephant / A Robot Named Pitchy* / Still Crazy After All These Years / Tear-Stained Letter / Sing Along

Jeremy Messersmith Gives Heart Murmurs at Mercury Lounge

"Hi, everybody.  Thank you for coming.  I have a new record out today.  That's mildly exciting," said the humble Jeremy Messersmith.  The critically lauded Minneapolis troubadour didn't have to be so modest.  Heart Murmurs, his fourth album, and first on Glassnote Records, was released yesterday, and has already garnered buzz from NPR to Time Magazine.  Messersmith celebrated with a sold-out show at Mercury Lounge, performing 9/11 of the LP's tracks (Conspiracy, anyone?), along with a sprinkling of tunes from 2010's The Reluctant Graveyard.

Jeremy and his band hit the ground running with propulsive first single "Tourniquet," followed promptly by "Lazy Bones."  And just because the majority of musicians on the stage were wearing eyeglasses, that didn't mean they couldn't rock.  Peter Sieve's guitar helped to forge a wailing wall of sound on "Heidi," pushing it all the way into noise pop territory.  "Dillinger Eyes" had a plucky early '70s vibe to it, and "It's Only Dancing" chugged along nicely in the capable hands of drummer Andy Thompson.  "Okay, I can't rock anymore without doing a couple singery-songwriter ones," announced Jeremy, picking up an acoustic and dismissing his bandmates, save for Sieve.  The duo performed "I Want to Be Your One Night Stand," a wishful love song where JM imagines drinking boxed wine in a cheap motel room with his minivan parked outside.  By lacing the song with humor, Messersmith deftly avoided the maudlinness often found in the folk genre.  Peter left Jeremy alone to perform "Steve" and "A Girl, a Boy, & a Graveyard," the latter of which was met with knowing claps from the audience.  J-Mess was even assisted on the song's final chorus by a faint whistling from the front of the room.

The band reconvened with Jeremy for a few of the night's finest numbers, including "Ghost," where comely keyboardist Sarah Perbix and bassist Ian Allison joined forces in a Western shuffle.  It was truly powerful as everyone in the band sang the last few refrains in unison.  In lieu of faking an encore break, Messersmith chose to remain onstage to lead the band through the Beatles-meets-Beach Boys pop of "Violet!"  The band retreated to the side of the stage once more to allow for a final solo song.  "I always like to end my records with like a little after-dinner mint," Jeremy explained prior to "Someday, Someone."  Inspired by a post found during a stoned, late-night Reddit session, the tune proved JM's unique voice as a songsmith yet again, containing the line "Someday, someone will love the fuck out of you / I will if you want me to."  While you probably won't be seeing that on a Hallmark card anytime soon, you will likely be hearing a lot more of Jeremy Messersmith.

JEREMY MESSERSMITH - 02.04.14 - MERCURY LOUNGE (54 minutes)

SET - 

Tourniquet / Lazy Bones / Heidi / Bridges / Dillinger Eyes / It's Only Dancing / I Want to Be Your One Night Stand / Steve / A Girl, a Boy, & a Graveyard / Organ Donor / Hitman / Ghost / Violet! / Someday, Someone

The Majorleans & Sundelles Play Real Indie Rock at Mercury Lounge

Over the years, the definition of "indie rock" has morphed from a business term into a genre.  Originally a way to categorize rock bands who were independent from the major record labels, it has become more a descriptor of a sound.  This is semi-logical, as many of these "indie" artists are now on thriving smaller labels.  And while they may not possess the coffers of the industry giants, they still have enough clout to garner airplay and sell tickets.  The fundamental flaw in using "indie" to describe what you're actually hearing is that the gamut is stylistically too diverse.  Does a grunge revival band count as indie even though they're paying tribute to a major label genre?  How atmospheric must a song be before it's considered indie?  At what point does the singer's voice become too tonally developed that the moniker no longer applies?  Last night, I went to the late show at Mercury Lounge to catch two Brooklyn indie bands, Sundelles and the Majorleans.  They're unsigned, so they are truly independent, but they don't sound anything alike.  And they shouldn't.

First up was the hirsute honcho of Sundelles, Sam Sundos, who exemplified the jangly lo-fi found on Teenbeat Records in the early '90s.  After opening with a medley of three of his oldest ditties, Sundos shifted the tides towards his latest release, No Milk, released a few weeks ago for free via Mediafire (download here).  Entirely backlit, Sam was hard to see, save for a shimmering crucifix dangling from his left earlobe.  "Are you guys taking me seriously?" he questioned halfway through the set.  "I wore this earring for Christmas, and no one's taking me seriously!" he shouted, feigning a temper tantrum.  The poppier No Milk numbers were definitely the crowd favorites, along with an unexpected cover of Big Star's "Thirteen."  "I didn't write that song, and I didn't sing it right," Sundos remarked before bringing his set to a close with the Beach Boys-flavored "Blue Sky."  I was a little let down that he didn't play my favorite song from the album, "Why (Make Up Your Mind)," but I guess that means I'll just have to see him again.

The Majorleans seemed looser than when I first saw them in April.  Perhaps it's because their long-overdue debut, Black Belt, is looming just around the corner.  Perhaps it was the inherent confidence that comes with headlining.  Perhaps they just felt at home in a room thick with friends.  No doubt it was a combination of all these things, and it resulted in a relaxed hangout vibe.  The feel of the show could be summed up by the enthusiastic yell of "One more!" from a crowdmember after the rocking opening cut "Go Down All the Time."  Nicky Francis laughed, and the band continued with nine additional tunes, including two I'd never seen live: "Mercy" and "Real Bad."  For the latter, dancers in the front row took to reenacting their roles from the music video (below).  Sound issues with the acoustic forced Francis to forfeit his guitar before the second verse, but that didn't stop him from miming a jam with his bandmates.  It was also nice to hear the song minus the harmonica that at times overpowers the studio version.  The Majorleans then moved the party to the roadhouse with the country-stomp of "Under Ma Wheels," another highlight.  And while they may have kept the mood casual, they still put the music first, as evidenced by Chris Buckle's searing classic rock solo on "Coal Mine/Cold Mind" and the tight pocket stitched by Hurricane Bells' rhythm boys on "Mr. Magic."


The plan is to spend next week pumping out the backlog of podcasts, which includes an interview with the Majorleans and Black Belt co-producer "Bassy" Bob Brockmann, so get your ears ready.

SUNDELLES - 12.18.13 - MERCURY LOUNGE (29 minutes)

SET -

Gold > Dead Youth > Waiting / Can't Win / Fight for My Time / Taking All the Fun / I'm Trouble / Thirteen / Blue Sky

THE MAJORLEANS - 12.18.13 - MERCURY LOUNGE (44 minutes)

SET -
Go Down All the Time / Coal Mine/Cold Mind / Imaginary Plane / Baby, Where Have All Your Lights Gone? / Real Bad / Under Ma Wheels / Never See the Seams / Mercy / Mr. Magic / Never Had Enough

Johnathan Rice Headlines Mercury Lounge

Currently opening for Dawes on their fall tour, Johnathan Rice stopped by Mercury Lounge last night to headline his own show in support of his new LP, Good Graces.  Backed by Mike Bloom on electric guitar, Nik Freitas on bass, and Jason Boesel on drums, Rice wasted no time launching into the title track.  It was the perfect showcase for his brand of hazy folk-rock paired with melodic hooks.  "Early show, man.  We're gonna have to disgrace ourselves after instead of before," deadpanned Rice.  As one half of Jenny & Johnny, his band with girlfriend Jenny Lewis, Johnathan sprinkled four of the couple's tunes throughout the set, beginning with "Scissor Runner," where Freitas took care of Lewis' backing vocals.  They segued directly into "Further North," with Mike's countrified guitar lines transforming Mercury Lounge into a roadhouse bar.  Bloom showed off a different side on "Surfer's Lament," employing a whammy bar to create breakers of reverb.  As the shimmering waves washed away from shore, Rice dove headfirst into another J&J burner, "Animal."

"This is a new song. It's about sisters and brothers kissing each other."  The statement was met with nervous laughter from the audience, but everyone was onboard halfway through the number, a Lou Reed homage called "Lou Rider," which saw Rice reaching into his highest register on the chorus.  Boesel complemented his drums with a tambourine for the new single, "Nowhere at the Speed of Light," which was followed by "My Heart Belongs to You," a late-'50s slow dance that wouldn't have felt out of place on a Ricky Nelson record.  Modifying the line "You've still got a hold on me" to "You've still got your claws in me" in "The Middle of the Road" was a subtle improvement in its vivid imagery.

The band left Johnathan onstage to perform one last song by another Jonathan (albeit with one h), Jonathan Richman's "That Summer Feeling."  Many people of my generation associate Richman with his role as the Shakespearean chorus in There's Something About Mary, and therefore, tend to listen to him with a comedic bent, but Rice's clear voice exhumed the original melancholy from the lyrics.  At the song's end, he exited through the crowd, but the applause continued.  In the back of the room, Johnathan signaled to the soundman with his index finger, and his request for one more was approved.  "I didn't know you were allowed to do encores here," Rice remarked, and charged into "We're All Stuck Out in the Desert."  No word on whether he disgraced himself after, but he was definitely held in good graces during the show, no pun intended.

JOHNATHAN RICE - 09.23.13 - MERCURY LOUNGE (55 minutes)

SET - 

Good Graces / Scissor Runner > Further North / Surfer's Lament > Animal / Lou Rider / Committed / New Yorker Cartoon / Acapulco Gold / Nowhere at the Speed of Light / My Heart Belongs to You / The Middle of the Road / That Summer Feeling

ENCORE -

We're All Stuck Out in the Desert

Hollis Brown & Desert Noises Bring That Old Rock & Roll to Mercury Lounge

When I saw Hollis Brown open for Deer Tick back in December, they'd mentioned that they were going to release a record this year. Well, that time has come, and the rockers celebrated by playing the album and more at packed show at Mercury Lounge last night.

Desert Noises, a rock band from Utah who've been touring with them, kicked things off with a nine-song set. Beginning with "Grandma Looks," I was immediately impressed with how much energy the boys put into the songs live. "You guys ready to dance?" questioned frontman Kyle Henderson right before Patrick Boyer plunged into "Oak Tree" with a heavy dose of slide guitar. On record, Henderson's voice recalls Good Old War's Keith Goodwin, but in person, it's much more ferocious, his face contorting to match the intensity. There's also no bass in Good Old War, and Tyler Osmond's peppy plucking is key to the Desert Noises sound, especially on their new songs from the I Won't See You EP. These tunes, from the Band of Horses-esque title track to the Stephen Hawking-inspired "Birds," move along on a bouncier groove than their full-length, and show them growing as a band, aptly channeling their pop sensibilities through a classic rock filter. It's this filter that makes them stand out. Hip-shaking new ditty "Shiver" might've fit on a Warped Tour compilation if it were watered down and processed to shit, but Desert Noises have a weight to their songs, maybe even a little of "The Weight" the Band were singing about in '68. The young men of Desert Noises sound like they got ahold of their parents' old records and took to the garage to try their hand at it. If they were your kids, you'd hear the wailing guitar solos, open the door, and yell, "Keep it down!" because that's your obligation as a parent and good neighbor. Then you'd close the door, and with a proud smile, giddily say to your spouse, "They're getting really good."

After a quick tune-up, Hollis Brown wasted no time, charging into "Doghouse Blues" from their new album, Ride on the Train. "You go to work in the morning / You go to bed at night" were the first words out of Mike Montali's mouth.  You'd be hard-pressed to find lyrics like these in a contemporary song, and yet, it's still what the majority of us do, toiling our days away to support ourselves and our families.  It's that mentality that pervades Hollis Brown's songs.  They're not trying to reinvent the wheel because the rusty truck they're on still runs.  While most independent artists in New York seem determined to make their mark by finding the weirdest sound possible, the guys in Hollis Brown aren't willing to sacrifice quality songwriting for it. Michael Hesslein, who plays keys on the album, added another layer to a trio of fan favorites, "Nothing & the Famous No One," "Ride on the Train," and of course, "Gypsy Black Cat," which is where things really switched on for the band and the crowd.  I mentioned the Band before, and new song "Faith & Love" could've been an outtake from The Brown Album. "I wanna say thank you to the band for sticking with it and putting up with my bullshit," Montali said as his comrades left him to perform a solo "If It Ain't Me."

"We're gonna take a little break from doing our songs, and we're gonna do a song by Creedence Clearwater Revival," Mike announced as his cohorts returned.  "Green River" was met with cheers, but not as many as for their song, "Nightfall," which is saying something.   Bassist Dillon DeVito took lead vocals on "Carolina, Carolina."  At its end, he admitted that he wasn't a native New Yorker, but offered, "I think it took like 34 days on the road for New York to feel like home, so it's good to come back."  Hesslein was reinstated for the live debut of "Hey Baby," a tune where Jon Bonilla's guitar licks evoked the "woo woo"'s of "Sympathy for the Devil."  Montali set aside his six-string for "Cold City," the non-album single, which featured a super-funky breakdown from his bandmates.  The guy beside me who'd been yelling for "Walk on Water" all night finally got his wish when the song closed the set and marked the entire album played.  After a split-second encore break to wrangle Desert Noises from the crowd, the bands joined together for Neil Young's "Rockin' in the Free World."  Keep on rockin', boys.  Bands like Desert Noises and Hollis Brown may be a dying breed, but they're also proof that real rock 'n' roll will never die.

DESERT NOISES - 03.30.13 - MERCURY LOUNGE (38 minutes)

SET -
Grandma Looks / Oak Tree / Blinded by the Light* / I Won't See You / Birds / Fall Through the Sky* / Shiver / Wild Dream* / 27 Ways

HOLLIS BROWN - 03.30.13 - MERCURY LOUNGE (1 hour, 8 minutes)

SET -
Doghouse Blues / Down on Your Luck / When the Weather's Warm / Nothing & the Famous No One / Ride on the Train / Gypsy Black Cat / Faith & Love / If It Ain't Me / Green River / Nightfall / Carolina, Carolina / Hey Baby / Cold City / Walk on Water

ENCORE -
Rockin' in the Free World (feat. Desert Noises)

Wow, Wow, Wow! Ken Stringfellow & Chris Mills Amaze at Mercury Lounge

I was considering going to Baltimore this weekend, and skipping the Ken Stringfellow show at Mercury Lounge.  I am proud to say I made the right decision, and saw the most extraordinary show I've seen so far this year.

My roommate and I got there early and grabbed a seat on the left bench.  The Meters were playing over the PA, inspiring me to look for a copy of Struttin' on eBay.  Just as "Cissy Strut" was hitting its groove, Chris Mills took the stage.  The sound tech faded the Meters out, but Chris kept scatting the lick.  "I'm just gonna beatbox the rest of the record for you," he said with a smile.  From the first note of "Wild Places," the crowd went completely silent, in awe of the man's voice.  He didn't hold back, almost shouting the words, but somehow he always stayed in tune.  The hint of twang that escaped at the end of breaths provided even more character.  Two songs in, he revealed his history with the venue: "The Mercury Lounge is where my wife and I shared our first kiss."  He had taken her down to the dressing room in the basement to impress her, but when he moved in for a smooch, she stated, "'I am not going to kiss you in the basement of the Mercury Lounge.'  But when we got to the top of the stairs, she said, 'What are you waiting for?'  So I kissed her... and now she's pregnant.  I always think it's weird that our relationship to sea level determined our first kiss."  The anecdote had the crowd chuckling like they were at a comedy club, and it was hardly the last laugh.  Breaking a string on "Blooms," the audience let out a collective "awww."  Ken Stringfellow emerged from the shadows to offer up his electric, but Mills refused.  "Think of this as an intermission.  Pretend it's Lawrence of Arabia, and Peter O'Toole has just been captured by the Turks." Still stringing, he told a story about how one of his students (He teaches at a middle school.) suggested a song for the upcoming recital: "Mr. Mills, we should learn 'Never Gonna Give You Up,' and then we can rickroll the entire school."  Once restrung, he played his newest song "Slumberland," which is so fresh, it won't even be on his late-summer release with the rest of the "future hits of America."  While most of the tunes were from this forthcoming LP, hid did play "Atom Smashers," a peppy rush of clever lyrics from 2008's Living in the Aftermath.  Though his guitarwork could've been a little more adventurous, that's really just nitpicking because rarely do you see an artist at this level of vocal control, songwriting, and stage presence.  Ken Stringfellow would have to do a lot to live up to his opener.

And holy shit, did he?  I picked up Ken's album Touched back in 2004 when I had a radio show in college, but until last night, I'd never seen him live.  He started out onstage with "You're the Gold," establishing a set of songs mainly culled from his recent LP, Danzig in the Moonlight.  But he didn't sing into the microphone.  He stood all the way at the stage's edge, perhaps even perched on the monitor, to serenade us.  Had I seen Stringfellow before, maybe I would've known about his tendency to enter the audience, but I hadn't, and magically found myself in the front row when he parted the crowd like Moses to play "110 or 220V."

I'd previously commented on how intimate the Valentine's Day Alabama Shakes cruise was, standing ten feet away from Brittany Howard.  Now mere inches away from Stringfellow, I learned what intimacy was, as he played his guitar directly in front of me.  It was such a strange feeling, almost uncomfortable, yet welcoming at the same time, as the show transformed from a concert in a room of people to an incredibly personal experience.  "I'd like to do this for awhile," he informed the astounded crowd.  "It's a way to break New York into bite-size chunks."  After dipping back to "Find Yourself Alone" (and silencing the bartenders speaking to each other through that little drive-thru window in the wall), a fan requested a song by Stringfellow's short-lived band, Saltine.  "We played that at Brownies," said Stringfellow.  "I know.  I was there.  Brownies is no longer there," responded the hopeful fan.  "Yeah, neither is Saltine," Ken retorted, though he would later play "Any Sign at All."

Ken ventured back to the stage for the wonderfully sly "Shittalkers" on keyboard, but that didn't mean he was ready to use a mic.  That would have to wait until the next song, "History Buffs."  And before I knew it, he was back on the floor, making eye contact with me.  After a quick "O Tannenbaum" tease, he asked for the mic, turning audience members into roadies.  "I hope we don't blow up the PA.  If we each chip in 500 bucks, we can have that and a pony keg," he laughed.  For "Doesn't It Remind You of Something," a love song from the POV of two dead meth heads ("They're ghosts, but they're on meth, so they're super fast.  'Hey, who stole my bike?'  Fast ghost."), he was joined by a singer named Darling Cait.  Stringfellow typically has a different woman perform the duet with him every night (They even differ on the album, with Margaret Cho on the LP, and Charity Rose Theilen on CD.), but the interplay with Cait was so Nancy & Lee-perfect, it's a marvel that she's not on a recorded version.  Maybe Ken should release a compilation of all the duets at the end of the tour.  Climbing back on the stage for the final song before we had to clear out for the next concert, Ken said flatly, "I had a few requests, but I'm going to ignore those," preferring "Pray," another Danzig track.  Do whatever you want, Ken.  It's clear you already do, and it's magnificent.

CHRIS MILLS - 02.16.13 - MERCURY LOUNGE (42 minutes)

SET -

Wild Places / Alexandria / Rubicon / Blooms (aborted, string broke) / Blooms / Slumberland / Atom Smashers / Sweet Hereafter / Castaways / When We Were Young

KEN STRINGFELLOW - 02.16.13 - MERCURY LOUNGE (1 hour, 12 minutes)

SET -

You're the Gold / 110 or 220V / Find Yourself Alone / Any Love (Cassandra et Lune) / Shittalkers / History Buffs / Superwise / Even the Forgers Were Left Fingering the Fakes / Any Sign at All / O Tannenbaum (tease) / You're the Beautiful One / Known Diamond / Doesn't It Remind You of Something (feat. Darling Cait) / Pray

Hurricane Sandy, Cody Chesnutt, Blind Tony

I was supposed to see Xavier Rudd at Irving Plaza the Sunday of Sandy, but that was postponed.  No word yet on the rescheduled date.

I'm going to attempt to see Cody Chesnutt on Friday at Mercury Lounge, so expect a combined review of the show and his new album, Landing on a Hundred, on Saturday.  I donated to Cody's Kickstarter to help out with its release, so it's personally exciting.

Until then, you can follow me on Instagram, where I post photos as Blind Tony.

Matt Embree Covers Neutral Milk Hotel & Announces Brooklyn Show

Matt Embree (of Rx Bandits) and Vinnie Caruana (of I Am the Avalanche) sold out Mercury Lounge for one of the last stops on their summer acoustic tour.  Each frontman played a solo set of songs from their various projects, and announced a secret Brooklyn show for next week.

Those who arrived early were treated to a short set by Lauren Coleman, singer for Pebaluna, a new band that features Embree (Album Carny Life drops 9/18.).  Accompanied only by her ukulele, her sultry voice sang songs of becoming rich and an island where parrots open your beercans.  Coleman's tunes, with her jazzy delivery, playful lyrics, and gentle strums, recalled those in movies from the '50s where everyone stops to watch a musical number.  I was trying to think of who her voice reminded me of, but I couldn't quite place it.  When I got home, I discovered she's the female character in one of my favorite songs: Gavin Castleton's "Coffeelocks."  Mystery solved.

Vinnie Caruana (rhymes with marijuana) put down his beer and picked up his six-string to open with "Symphony."  His voice has improved so much over the years, his guttural growls awed the crowd into silence.  When the song ended, he launched into the first of what would be several extended railleries: "That song's a downer.  'Why did he start with that?'  There's more where that came from."  "I'm from Long Island and I'm in a band called I Am the Avalanche."  Cheers from the crowd.  "You guys know that island and that band?  Sick."  After another IATA classic, we got Vinnie solo staple "To Be Dead & in Love," which he said would be on a solo release to be recorded during the winter months.  "I was in a band called the Movielife."  More cheers from the crowd.  "The magazines say we were an influence to the young'uns.  And we made way less money than them."  Movielife tunes "Hey" and "Sailor Tattoos" had most of the crowd singing, and one drunk guy on the right side of the room yelling.  Caruana took time to thank Lauren Coleman, revealing, "My father already likes her music more than mine."  Vinnie's parents were in the crowd, which made the father-themed closer "Brooklyn Dodgers" all the more poignant.

Matt Embree took his place on a stool center stage a little after 9pm.  He kicked things off with "Bring Our Children Home," the first of five Rx Bandits songs for the evening.  The crowd joined in for the triumphant chorus, and for a moment, things were great.  But as the night progressed, the drunk on the right shouted more and more, and audience members came together to shush him.  After the incendiary Love You Moon track "To Kill for You," Embree eased his way into Sublime's "Pool Shark."  A surprising cover of Neutral Milk Hotel's "The King of Carrot Flowers (pt. I)" came next, and was promptly followed by the highlight of the night, "Taking Chase as the Serpent Slithers."  Everyone in the crowd seemed to know the words, and helped Matt through the song's bridge.  He admitted afterwards, "Whenever I play with Rx, I just make shit up."  A faithful cover of Hendrix's "The Wind Cries Mary" came later, the inebriate on the right barking, "Mary!" throughout.  A bluesy interpretation of Sam Cooke's "Bring It on Home to Me" was similarly marred by the asshole.

When punk musicians go acoustic, their fans generally don't know how to adapt (Well, at least no one moshed.).  It's fine to scream at the top of your lungs when it's drowned out by distortion and drums, but it's a completely different story when the artist is alone and unplugged, even if they're encouraging you to sing along.  Add in the fact that most punk fans can't carry a tune and you've got yourself one nasty situation.  This culminated when Lauren Coleman stepped on the stage to duet "A New World" with Matt sans microphones.  Please please please let the band sing when they're not using mics.  RXB standard "Overcome (the Recapitulation)" finished it out, along with the announcement that Vinnie and Matt have added a special final tour stop: Tuesday 9/11 at the Acheron in Bushwick.  Tickets are $10 at the door, and the guys promised to change up the setlists.  I'll be there if you shut the fuck up, and if I can figure out how to get home.

VINNIE CARUANA – 09.07.12 – MERCURY LOUNGE (33 minutes)

SET –

Symphony / This One’s on Me / To Be Dead & in Love / Hey / Sailor Tattoos / Green Eyes / Brooklyn Dodgers

MATT EMBREE – 09.07.12 – MERCURY LOUNGE (56 minutes)

SET –

Bring Our Children Home or Everything is Nothing / To Kill for You / Pool Shark / The King of Carrot flowers (pt. I) / Taking Chase as the Serpent Slithers / David’s Birthday / March of the Caterpillar / The Wind Cries Mary / White Lies / Bring It on Home to Me / A New World (feat. Lauren Coleman) / Overcome (the Recapitulation)