Showing posts with label music hall of williamsburg. Show all posts
Showing posts with label music hall of williamsburg. Show all posts

Friday, November 17, 2017

Alex Lahey Music Hall of Williamsburg Setlist


NERVOUS DATER - 11.16.17 - MUSIC HALL OF WILLIAMSBURG (28 minutes)

SET -
Fun Dumpster / Vominos / Run Home / Bad Spanish / Pigeon Language / Serenity / Don't Be a Stranger

DUDE YORK - 11.16.17 - MUSIC HALL OF WILLIAMSBURG (34 minutes)

SET -
Black Jack > Lonely Girls* / Something in the Way > Tonight / The Way I Feel > Love Is / Twin Moons / Paralyzed

ALEX LAHEY - 11.16.17 - MUSIC HALL OF WILLIAMSBURG (1 hour, 11 minutes)

SET -
Every Day's the Weekend / Wes Anderson / Perth Traumatic Stress Disorder / L-L-L-Leave Me Alone / Awkward Exchange / I Want U / Ivy League / Let's Call It a Day / I Love You Like a Brother / Lotto in Reverse / Backpack / Torn / I Haven't Been Taking Care of Myself

ENCORE -
There's No Money / Let's Go Out / You Don't Think You Like People Like Me

Saturday, July 16, 2016

Emily King Music Hall of Williamsburg Setlist

Review to come.

EMILY KING - 07.15.16 - MUSIC HALL OF WILLIAMSBURG (1 hour, 10 minutes)

SET -
Sleepwalker / Good Friend > Focus / The Switch / Already There / Radio / The Animals / Down / Every Part / No More Room / Ordinary Heart / Off Center / BYIMM / Wishing Well / Distance / Believer

ENCORE -
Georgia / Ever After

Wednesday, April 20, 2016

Lissie Music Hall of Williamsburg Setlist

Review to come.

LISSIE - 04.19.16 - MUSIC HALL OF WILLIAMSBURG (1 hour, 39 minutes)

SET -
Hero / Sleepwalking / Shameless / They All Want You / Stay / When I'm Alone / Oh Mississippi / Bully / Sun Keeps Risin' / Don't You Give Up on Me / Little Lovin' / Everywhere I Go / Daughters / Ojai / Further Away (Romance Police) / Shroud

ENCORE -
In Sleep / Pursuit of Happiness

Monday, October 26, 2015

They Might Be Giants Horntoberfest Setlist

Review to come.

THEY MIGHT BE GIANTS - 10.25.15 - MUSIC HALL OF WILLIAMSBURG

SET I (58 minutes) -
The Mesopotamians / Music Jail, pt. 1 & 2 / Hey, Mr. DJ, I Thought You Said We Had a Deal / She's Actual Size / Cowtown / Museum of Idiots / Which Describes How You're Feeling / Mr. Me / Nanobots / Brains Everywhere* / The Darlings of Lumberland / Cloisonné / Withered Hope / Authenticity Trip / Gonna Fly Now (tease) / Electric Car (feat. Robin Goldwasser) / Eye of the Tiger (tease) / Birdhouse in Your Soul / When Will You Die

SET II (45 minutes) -
No One Knows My Plan / Let Me Tell You About My Operation / Metal Detector / S-E-X-X-Y / Bee of the Bird of the Moth / Dirt Bike / Answer / Call You Mom / Underwater Woman / Lie Still, Little Bottle / Particle Man / The Statue Got Me High

ENCORE I (10 minutes) -
Working Undercover for the Man / Turn Around / Doctor Worm

ENCORE II (8 minutes) -
See the Constellation / Istanbul (Not Constantinople)

Monday, September 28, 2015

They Might Be Giants Apollo 18 Show Music Hall of Williamsburg Setlist

Review to come.

THEY MIGHT BE GIANTS - 09.27.15 - MUSIC HALL OF WILLIAMSBURG

SET I (1 hour, 2 minutes) -
I Palindrome I / Music Jail, pt. 1 & 2 / Answer / My Evil Twin / Pencil Rain / Hypnotist of Ladies / Mammal / Dinner Bell / See the Constellation (tease) / Barracuda (tease) / The Shadow Government / Apes vs. People / Bills, Bills, Bills / Istanbul (Not Constantinople) / The Guitar (The Lion Sleeps Tonight) / We Want a Rock / Can't Keep Johnny Down / If I Wasn't Shy / Cowtown

SET II (36 minutes) -
Spider > Rhythm Section Want Ad / Number Three / Letterbox / Which Describes How You're Feeling / Dig My Grave / She's Actual Size / Turn Around / See the Constellation / Space Suit / Good to Be Alive / Narrow Your Eyes / The Statue Got Me High

ENCORE I (7 minutes, 30 seconds) -
Drum Solo / I Was Dancing at the Lesbian Bar / Robot Parade

ENCORE II (13 minutes) -
The Mesopotamians / Birdhouse in Your Soul / Fingertips

Monday, July 27, 2015

They Might Be Giants Music Hall of Williamsburg Setlist

Review to come when I have the time.

THEY MIGHT BE GIANTS - 07.26.15 - MUSIC HALL OF WILLIAMSBURG

SET I (55 minutes, 30 seconds) -
Pencil Rain / Damn Good Times / Can't Keep Johnny Down / The World's Address / Bills, Bills, Bills / Stand on Your Own Head / Piece of Dirt / Kiss Me, Son of God / How Can I Sing Like a Girl? / Istanbul (Not Constantinople) / Cage & Aquarium / Number Three (aborted) / Number Three / Man, It's So Loud in Here / Careful What You Pack / Shoehorn with Teeth / Underwater Woman / Cowtown / New York City

SET II (50 minutes, 30 seconds) -
Purple Toupee / Music Jail, pt. 1 & 2 / They'll Need a Crane / Birdhouse in Your Soul / Memo to Human Resources / Lie Still, Little Bottle / You'll Miss Me / Snowball in Hell / Answer / Santa's Beard / Where Your Eyes Don't Go / Let Me Tell You About My Operation / The Mesopotamians / Mr. Me

ENCORE I (9 minutes) -
Ana Ng / Robot Parade

ENCORE II (2 minutes, 30 seconds) -
Twisting

Monday, January 12, 2015

Dr. Dog Turns Music Hall of Williamsburg into a Flamingo Hotel

To celebrate the release of their long-anticipated live album, Live at a Flamingo Hotel, Dr. Dog announced a New York 4x4: four shows at Music Hall of Williamsburg followed by four at Bowery Ballroom.  Last night at Music Hall, they offered up a career-spanning third show, where the band touched on every LP and EP in their discography with the understandable exception of the holiday release, Oh My Christmas Tree.  The venue was decorated to fit the live record's theme, with strings of lights housed in small, colorful China bulbs dangling across the room from a balcony whose support beams had sprouted palm fronds.

Shortly after nine, the packed house turned their eyes to the stage for the opening act.  While Elvis Perkins' upcoming I Aubade is mainly a solo effort, he had no qualms about sharing the stage with his backup band, Dearland.  The audience had no problem either, when the group began their set in delightful four-part harmony.  Nick Kinsey's drums rocketed into "I Heard Your Voice in Dresden," with Perkins' whooping vocals complemented nicely by wafts of harmonium and trumpet.  "Stay Zombie Stay" coasted along on that springy rootsiness shared by so many Dr. Dog songs that anyone in the room not yet onboard hurried to the gangway.  A helping of flute and bowed double bass segued the number into "Shampoo."  If the imagery of lines like "Black is the color of a strangled rainbow" wasn't enough, the song was made all the more haunting by the choral moans of his bandmates during the hook.  Kinsey left his kit, strapping on a large drum to join the rest of Dearland center stage.  Perkins conferred with his band and quickly readjusted his tuning.  "That would've been a very interesting hybrid of a song from Ash Wednesday and a song from In Dearland at the same time, but..." he remarked, proceeding with the clap-inducing "Hey."  Perkins had even more fun with "Stop Drop Rock & Roll," a rockabilly ditty that could've been performed by his namesake.  The quintet finished off the set with a horn-filled "Doomsday."  When the members reappeared a few minutes later to retrieve their gear, the crowd cheered as if they were about to get an encore.

Backlit by a pink flamingo amidst blue geometric shapes, the shadow people of Dr. Dog took the stage.  A drone of low-end feedback was happily interrupted by the insistent bass line of "The Girl."  Scott McMicken tossed the lead vocals over to Toby Leaman for "Hang On," as the couple in front of me held hands and sang along contentedly.  "Love" was an early standout, its verses of slick cocaine funk erupting into the joyous refrain led by McMicken.  "The Beach" progressed like a spooky Bond villain theme, reaching peak wickedness when Toby ripped his mic from its clip and slithered across the stage, baptized in a crimson glow.  On "Too Weak to Ramble," Leaman loaned his bass to percussionist Dimitri Manos and picked up an acoustic guitar.  The ballad slowed the show's pace a bit, but "We All Belong" got things back on track with a big finish, Scott McMicken leading the harmonies into a blinding white light.  Their excellent cover of Architecture in Helsinki's "Heart It Races" featured a groovy, jammed-out coda, and with a helpful nudge from the lighting design, "Heavy Light" was the pot of gold at the end of the rainbow.

A hurricane overtook the Flamingo Hotel during the encore break, with thunderclaps of applause and balconeers shaking the lines of lights violently.  After nearly four minutes, Dr. Dog reemerged.  "Thank you so much, folks," offered Toby, and they plunged into "These Days," not wanting to waste any more time.  Keyboardist Zach Miller switched to electric guitar for "Today," taking the solo.  At this point, I was a little uneasy.  Sure, there had been some nice moments so far, specifically "The Beach," but they'd been playing it too safe.  Where was that riotous energy that their shows are known for?  The answer was next.  "Let's continue with Zach Miller on guitar.  Normally I can't stand that guy, but tonight, I don't know," joked Toby before inviting the percussion-equipped Elvis Perkins in Dearland to join them for "Lonesome."  You could finally see that they were having a blast, and as the house lights illuminated the room with every "hey," the crowd clearly was too.  Not to mess with a good thing, Dr. Dog kept Elvis and Dearland onstage for the final three tunes, "California," "Die, Die, Die," and an exuberant "That Old Black Hole."



ELVIS PERKINS IN DEARLAND - 01.11.15 - MUSIC HALL OF WILLIAMSBURG (43 minutes)

SET -
Join This Union* > I Heard Your Voice in Dresden / Stay Zombie Stay > Shampoo / Hey / All the Night Without Love / Chains, Chains, Chains / & Eveline / Stop Drop Rock & Roll / AM > Doomsday



DR. DOG - 01.11.15 - MUSIC HALL OF WILLIAMSBURG (1 hour, 46 minutes)

SET -
The Girl / Hang On / Love / Broken Heart / Mystery to Me / The Beach / Mirror, Mirror / Distant Light / How Long Must I Wait > Too Weak to Ramble / We All Belong / Army of Ancients / Be the Void / Heart It Races / The Old Days / Nellie / Heavy Light

ENCORE -
These Days / Today / Lonesome (feat. Elvis Perkins in Dearland) / California (feat. Elvis Perkins in Dearland) > Die, Die, Die (feat. Elvis Perkins in Dearland) / That Old Black Hole (feat. Elvis Perkins in Dearland)

Friday, June 6, 2014

Kishi Bashi Music Hall of Williamsburg Setlist

Review to come.

BURIED BEDS - 06.05.14 - MUSIC HALL OF WILLIAMSBURG (39 minutes)

SET -
Wolf Confessor / Begin Again / Oh Lonely Fortress! / Children of the Sea > Your Modern Age / Breadcrumb Trail / Stars / Consolation > 1000 Acres

KISHI BASHI - 06.05.14 - MUSIC HALL OF WILLIAMSBURG (1 hour, 38 minutes)

SET -
Philosophize in It! Chemicalize with It! / Carry on Phenomenon / Improvisation > Bright Whites / Wonder Woman, Wonder Me / Q&A / Hahaha pt. 1 > Hahaha pt. 2 / Improvisation > Beat the Bright Out of Me / Evalyn, Summer Has Arrived / Bittersweet Genesis for Him & Her / I Am the Antichrist to You / Drum Solo / Atticus, In the Desert / The Ballad of Mr. Steak / It All Began with a Burst

ENCORE -
This Must Be the Place (Naïve Melody) / A Sunday Smile / Manchester

Tuesday, April 22, 2014

The World/Inferno Friendship Society Music Hall of Williamsburg Setlist


Review to come.

THE WORLD/INFERNO FRIENDSHIP SOCIETY - 04.19.14 - MUSIC HALL OF WILLIAMSBURG (1 hour, 49 minutes)

SET -
Tattoos Fade / This Packed Funeral / Just the Best Party / Brother of the Mayor of Bridgewater / Second Chance Saloon / Everybody Comes to Rick's / Sandra Interlude* > Trying to Tell Me Something* / Me v. the Angry Mob / The Disarming Smile / Jake & Eggers / The Politics of Passing Out / The Naughty Little Rat Makes New Friends / Let's Steal Everything / I Am Sick of People Being Sick of My Shit / American Mercurial > Thumb Cinema / Paul Robeson

ENCORE I -
The Models & the Mannequins / I Wouldn't Want to Live in a World Without Grudges / Cats Are Not Lucky Creatures > So Long to the Circus

ENCORE II -
Heart Attack '64 / Your Younger Man / My Ancestral Homeland, New Jersey / Zen & the Art of Breaking Everything in This Room

Sunday, February 2, 2014

Recipe for Man Man at Music Hall of Williamsburg



Recipe for Man Man Concert

Notes from the chef
This dish is a raucous delight, perfect for the day before Super Bowl Sunday.  While it only takes a little more than an hour to make, you'll still be satisfied by the amount of energy that went into it.

Ingredients
4 skeletons
1 opening act, Xenia Rubinos
1 handful glitter
6 cups beer
18 songs, mainly culled from last year's best album
1 megaphone
1 alien mask
1 fur coat, white
1 cloak, multi-patterned
energetic crowd
assorted instruments

Directions
1. Set lights to low.  Put 3 skeletons onstage and have them play a brief intro.
2. Introduce fourth skeleton draped in cloak.  Turn its back to crowd and spread arms to create creepy moth effect.
3. Begin songs.
4. At "Top Drawer," toss beers into air without regard for other crowdmembers.
5. Stir crowd vigorously until a mosh pit is created.
6. Toss glitter into mosh pit.
7. Dress lead singer skeleton in fur coat for a fantastic "Loot My Body."
8. Right around "Mister Jung Stuffed," you'll notice a froth forming on the crowd.  Skim the top with the wildest members.
9. Put alien mask on lead singer skeleton to distort vocals for "Paul's Grotesque."
10. Dress opener as skeleton.  Have her perform backup vocals for "Pink Wonton," "Head On," and "King Shiv."
11. Remove opener.
12. Push the eagle's stomach.
13. Play "Born Tight."  Set aside skeletons.
14. Scream and clap.
15. Bring back drummer skeleton.  Set drum machine for "El Azteca."
16. Combine remaining skeletons with drummer.  Give megaphone to lead singer.
17. Whip continuously until you smell the blood of an Englishman.  If you do this right, the crowd should go nuts.
18. Garnish with "Young Einstein on the Beach."  

Serves 550.

XENIA RUBINOS - 02.01.14 - MUSIC HALL OF WILLIAMSBURG (39 minutes)

SET -
Intro > When You Come / Help / Whirlwind / Cherry Tree / Pan y Café / Little Lost Cat* / Motorcycle / Hair Receding



MAN MAN - 02.01.14 - MUSIC HALL OF WILLIAMSBURG (1 hour, 9 minutes)

SET -
Intro* > End Boss > Top Drawer > Zebra / Loot My Body / Mister Jung Stuffed / Paul's Grotesque / Pink Wonton > Head On / King Shiv > Push the Eagle's Stomach > Doo Right / Born Tight

ENCORE -
El Azteca / Bangkok Necktie / Sparks / Engrish Bwudd / Werewolf (on the Hood of Yer Heartbreak) / Young Einstein on the Beach

Thursday, August 1, 2013

Frank Turner Closes Out a Two-Night Stand at Music Hall of Williamsburg

"If I'm gonna spend two days in one town, it might as well be New York fucking City."  So said Frank Turner last night at his second consecutive show at Music Hall of Williamsburg.  A near-flawless setlist competed for dominance with flawed sound, and thankfully won out by the concert's conclusion.


Greeted by cheers as soon as he emerged from the stage-left door, lanky singer-songwriter Ben Marwood should have been having the time of his life, seven days into his first U.S. tour.  "In the interest of honesty, I feel like death," he admitted, relaying a story about his 
stage fright-induced stomach problems.  Much like early Frank Turner shows, Marwood performed a set of modern folk songs accompanied solely by his acoustic guitar.  His voice sounded a bit like Christian Bale's (his native voice; not Batman's), and his banter betwixt songs (and even during them) gave his performance a relaxed, friendly vibe.  During "Oh My Days," he interrupted a line about gigging in Newbury to explain, "Which is a town near my town, so you think people would go."  He dedicated "I Promise You That It Will Be Okay" to Frank Turner, despite the fact that "he still spurns my sexual advances."  Before closing with "Murder She Wrote," Marwood invited everyone to meet him afterwards at the merch table: "We will hug. We will high-five. We will talk about the queen. That's all I know how to do."

Minneapolis punk band, Off with Their Heads, took the stage next.  A fight had broken out during their set on Tuesday, so the crowd seemed overly cautious not to rock the boat.  That's not to say there wasn't energy onstage, with the band blazing through 16 songs in under 39 minutes.  Even though his voice had quite the growl, frontman Ryan Young enunciated his words with so much precision that I was able to grasp the majority of the lyrics, an anomaly in punk rock.  Young opted to tune his guitar through the amp at the end of songs, allowing the band to keep plowing forward.  Almost all of the power chord-based two-minute tunes were melodically enhanced by backup vocals from guitarist John Polydoros and bassist Robbie Swartwood.  And drummer Ryan Fisher had a colossal beard.

"Good evening, Brooklyn!  How you fucking doing?" a grinning Frank Turner questioned the roaring crowd that only only got louder when he began singing "Eulogy."  At the song's end, the Sleeping Souls kicked into "Try This at Home," but the mix sounded like shit.  Nigel Powell's crisp drums overpowered everything except Tarrant Anderson's rumbling bass.  Ben Lloyd was clearly rocking out on his guitar, but he might as well have been unplugged to save the electricity, considering you couldn't make out a note.  At least his vocal mic was up, so you could hear him supplying the high harmonies to the finale of "Reasons Not to Be an Idiot."  The song led directly into "Glory Hallelujah," and while Frank spent much of the song repeating, "There is no God," I had no choice but to believe in a higher power when the guy who'd been singing horribly right behind me moved up closer to the stage.  I've found my enjoyment at Frank Turner shows is often based on how bad a singer I'm in front of.  "If today had been a film, it would've been The Hangover pt. II.  So a hangover, but not even very funny," jested Frank.  The Souls left the stage, with the exception of Matt Nasir, who backed Frank on keys for "The Way I Tend to Be."  Prior to the show, several fans had emailed requests that Frank perform "Redemption," a song rarely played due to its taxing vocal demands.  Turner dismissed Nasir to tackle the tune, acing the vox and pouring in so much emotion that it was without a doubt, my favorite performance of the night.  He continued solo on "Love, Ire, & Song," though solo is a misnomer, insomuch as the entire crowd was singing along.  Looking up at the swaying fans in the balconies when it came to the line, "If we're stuck on this ship and it's sinking, then we might as well have a parade," I imagined I was in a ship's belly, singing a shanty with the rest of the crew.  The sound had improved considerably during these songs without the overloud drums.  The mixer must've finally noticed the difference because once the band returned, he dialed back Nigel's drums a little and even raised Ben's level a tad, so it was pretty much a revelation when I finally heard him cut through on "The Road."  And even better to catch the otherworldly electric hum of him playing with an e-bow on "I Am Disappeared."

"Four Simple Words" picked up right where "Disappeared" left off.  By the end of the first verse, the tension had reached its breaking point, and with Nigel's furious drumroll, a circle pit broke out in the room's center.  While I'm generally anti-moshing, the sense of relief that came with it was worth the getting bumped a little.  "You guys are pretty fucking cool," Frank addressed the crowd once it was over.  But would we be able to combine singing, clapping, and jumping up and down into jumping jacks while singing the chorus of "Recovery?"  It sounded like a recipe for disaster, yet it actually turned out to be really fucking fun and a helluva calf workout.  After such a peppy number, Turner chose "Broken Piano" for a cool-down.  While improved from the studio version, it was somewhat anticlimactic to end the set with Frank crooning out-of-tune like the piano in the song.

Frank and Matt came back shortly thereafter, Matt picking up an electric mandolin to assist Frank on the debut performance of "We Could Get Better."  He asked that everyone put their camera phones away for this work-in-progress version.  Turner was visibly affected by the song's trial, lyrically an extension of the post-breakup subject matter of Tape Deck Heart.  The rest of the Sleeping Souls joined in on "I Still Believe," Tarrant Anderson dancing around with his bass like only he can.  Halfway through "Photosynthesis," the band vamped while Frank began his closing remarks.  Some fans preemptively got down on their haunches, forcing Frank to acknowledge the routine we'd participated in at Bowery Ballroom.  "The rule is everybody sit down on the floor; I'll explain the rest later," he offered.  Calves still sore from the jumping jacks, we crouched down to hear his spiel on concerts being unifying experiences, and exploded upward at the same moment to prove his theory.  With the sound issues at the concert's start, it wasn't exactly "the perfect way for the evening to begin," but it was damn sure a great way to end it.





BEN MARWOOD - 07.31.13 - MUSIC HALL OF WILLIAMSBURG (29 minutes, 38 seconds)


SET -
Question Marks / We Are No Longer Twenty-Five / Five Little Secrets / Tampa International / Oh My Days / I Promise You That It Will Be Okay / Singalong / Murder She Wrote


OFF WITH THEIR HEADS - 07.31.13 - MUSIC HALL OF WILLIAMSBURG (38 minutes, 30 seconds)

SET -
Start Walking > Drive / Nightlife > Theme Song > For the Four > Hard to Admit / Altar Boy > Don't Make Me Go / Janie > Focus on Your Own Family > Seek Advice Elsewhere > Always Alone / Stolen Away > Die Today > My Episodes > Clear the Air

FRANK TURNER - 07.31.13 - MUSIC HALL OF WILLIAMSBURG (1 hour, 43 minutes)

SET -
Eulogy / Try This at Home / If Ever I Stray / Plain Sailing Weather > Reasons Not to Be an Idiot > Glory Hallelujah / Wessex Boy / Substitute / The Way I Tend to Be / Redemption / Love, Ire, & Song / We Shall Not Overcome > The Road / Polaroid Picture > I Am Disappeared > Four Simple Words / Recovery > Broken Piano

ENCORE -
We Could Get Better* / I Still Believe / Photosynthesis

Saturday, April 20, 2013

Shuggie Otis Takes His Hat Off, Stays a Funky While at Music Hall of Williamsburg

Even if you don't know Shuggie Otis, you know "Strawberry Letter 23."  Though popularized by the Brothers Johnson in 1977, the song debuted on Otis' Freedom Flight album, released when he was only 17.  It's a brilliant song.  There are three different parts in it that could have each made a hit on their own.  But there they are, all in the same tune, all instantly recognizable: the xylophone intro, the "oooh ooh ooh ooh ooh oooh"'s of the chorus, the looping psychedelic guitar solo.  Though Otis' records are revered by many, he hasn't put out a whole lot.  That is, until last week, when he paired a reissue of his 1974 LP Inspiration Information with Wings of Love, a second disc of unreleased material recorded over the years.  He's currently touring in support of the double-album, and last night's show at Music Hall of Williamsburg was the second in a trio of NYC dates.

Anti-folk artist Jesca Hoop may have seemed an odd choice for the opener, even admitting it herself: "As you see, we are not funk R&B.  We'll try to put a little bit of soul in there for you."  Introducing each of her tunes with a little story in a voice similar to Molly Shannon's in SNL's "Delicious Dish" sketch, Jesca sang in a vibrato not unlike Regina Spektor or Björk, accompanying herself with her clean electric guitar.  Her vocal pitch wasn't the only thing constantly shifting though.  The lyrics in "Murder of Birds" went from referencing birds to brown recluses to homemade bread to love, but this wasn't just stream of consciousness; each item came to play its particular role in the theme.  She brought out Australian singer Emma Dean to join her for four songs, beginning with "Hospital (Win Your Love)."  She even name-checked each Beastie Boy in "Four Dreams."  I was captivated, as was the majority of the crowd.  After presenting us with the option of a quiet song or a more upbeat one, a very vocal audience member yelled, "Whatever you want!"  "Well, I'll play you a song that is contrary to the upbeatness," she said dryly, before starting "The House That Jack Built," the title track from her latest album.  A fan's request of "Seed of Wonder" was honored as the final number, and I bought her CD after the show.

"Brooklyn, beware of what you asked for.  If you have never been dominated, you have three minutes to exit," warned trumpet player Larry Douglas as Shuggie Otis tuned his guitar.  "Ladies and gentlemen, you made the right choice tonight," assured Larry as the band kicked into "Inspiration Information."  Unfortunately, the mix was off in the room.  The keyboards were too loud, the trumpet mic was ear-piercingly hot, and Shuggie's guitar and vox were too low.  But maybe his vocals should've been even lower on "Aht Uh Mi Hed."  Otis was definitely out of tune, and the song was only saved by James Manning's funky bass and the horn part at its end.  I began to worry.  Shuggie was a musical prodigy, but what if his talent had subsided?  "Island Letter" wasn't anything special, and "Me & My Woman" had its moments, but I didn't come here to see a has-been.  After a medley of "Sparkle City" and "Miss Pretty," Shuggie removed the hat and overcoat he'd been wearing.  Turns out he literally just had to warm up.  Digging into "Sweetest Thang" with a heart-wrenching blues guitar solo, Otis didn't let up from that point onward.  His voice was well-suited for the blues, and the sound team had finally fixed the levels.  New song "Wings of Love" built slowly until Shuggie's ferocious shredding urged the band to join him on a psychedelic funk odyssey.  Things got loud.  Things got chaotic.  Things got awesome.  Would they be able to top it?

Yes.  For the encore, the band returned with "Ice Cold Daydream."  Over the course of nearly nineteen minutes, they chugged through the beast, Shuggie ripping into solo after solo, his eyes closed, top row of teeth bared.  Larry pulled out a cowbell to add a little spice, and pretty soon, every member was throwing his best ingredient into the pot.  Otis even picked up his whammy bar to take his solo further over the edge.  The deafening noise coming out of the speakers was a thick tangle of funky sounds being hacked at by the sharp edge of an erratically screaming guitar.  It's my favorite type of jam.  It's the reason I go to P-Funk concerts.  Once Shuggie felt it had peaked, he retreated backstage.  Still playing, Larry introduced the members of the band one by one, each taking a solo.  It turns out the Otis legacy continues with Shuggie's younger brother Nick on drums and his son Eric on rhythm guitar.  "You made the right choice tonight," Douglas repeated as they left the stage once more.

The house music came on and the crowd began to clear out.  Are you fucking kidding me?    "Straw-berr-y!  Straw-berr-y!" began the chants.  Two minutes later, the band returned.  "Psych!" yelled Manning into the microphone.  "What were you saying?  Strawberry?  I forgot to play it," teased Shuggie.  Even though I would've been super let-down if they'd skipped it, compared to that "Daydream," it was just dessert.  And as Shuggie played that classic solo with his son, I knew that I had made the right choice that night.





JESCA HOOP - 04.19.13 - MUSIC HALL OF WILLIAMSBURG (37 minutes)

SET -
Murder of Birds / Hospital (Win Your Love) / Four Dreams / Born To / The House That Jack Built / Seed of Wonder



SHUGGIE OTIS - 04.19.13 - MUSIC HALL OF WILLIAMSBURG (1 hour, 37 minutes)

SET -
Inspiration Information / Tryin' to Get Close to You / Aht Uh Mi Hed / Island Letter / Me & My Woman / Sparkle City > Miss Pretty / Sweetest Thang / Picture of Love / Wings of Love / Doin' What's Right / Instrumental*


ENCORE I -
Ice Cold Daydream

ENCORE II -
Strawberry Letter 23

Wednesday, February 20, 2013

Jim James Flies Solo at Music Hall of Williamsburg


The last time I saw Jim James, he was playing to a sold-out Madison Square Garden crowd with his band, My Morning Jacket.  But that was 2011.  This is 2013.  Now touring behind his recently released debut solo LP, Regions of Light & Sound of God, James captivated a sold-out Music Hall of Williamsburg crowd with a straight-through album set and a few surprises for the encore.

The gig was opened by Dean Wareham, who you may know from Galaxie 500, Luna, or Dean & Britta, the indie pop duo he shares with his wife, Britta Phillips.  I'd heard of all these bands, but never listened before, so Wareham was uncharted territory for me.  Backed by a band that included Phillips, who looks fucking amazing for 49, Wareham doled out a short set heavy on Galaxie 500 tunes, including "Strange."  "That was an old song.  As you can tell because I mentioned Twinkies," Dean joked.  You'd suspect that being billed as a solo act, Wareham wouldn't be relying so much on the "Twinkie songs" of yesteryear (1989), but that wasn't the case.  Because he's been playing guitar so long, I also wanted more than the simple, slowed-down jangle pop instrumentation, with a solo at the end of "When Will You Come Home" serving as the lone moment of prowess.  He brought things to a close with a cover of New Order's "Ceremony."

After a lengthy set change that included the mounting of James' Gibson Flying V on a stand that made it appear as a literal Flying V, the lights finally dimmed for the show.  James began with album opener "State of the Art," an excellent choice, considering the slow build as each instrument was added one by one.  James sauntered around the stage in his suit, fist-bumped a crowdmember, and led fans on the chorus of vowels.  On the right-stage stairs sat ?uestlove, who dubbed James' "A New Life" the "most beautiful song he ever played on Late Night."  Once the song had gained full momentum, James came to the line "The power's goin' out," and the room abruptly went black.  The lights popped on again as the music returned, and the grinning audience immediately adapted to cheering "Woo!" on the return beat.  Those who listened to Regions of Light and were let down by the lack of guitar solos didn't have to worry about the Flying V going to waste, with James shredding a killer one here, and on two later tunes.  The album's single, "Know Til Now" shuffled out next, coming to its end with a mimed sax solo (I didn't see a mic.) from James.

The album unfolded in sequence, and you could tell by the look on his face that James was just happy to be up there singing these songs.  The record's instrumental filler track "Exploding" took on a little more weight as a live number, and "Of the Mother Again" actually got the crowd dancing.  Set-ender "God's Love to Deliver" was the obvious highlight, however.  The song wound down to what would be the record's last grooves, but this wasn't the record, and it evolved into a bass-led jam that conjured some of the same dark magic found in Phish's 12.30.12 "Carini."  Five minutes later, James topped it all off with a real sax solo (He played into a center-stage mic.).  The solos and jams effectively doubled the album's runtime, and James and company retreated backstage.

Having not spoken at all during the set, when he returned to the stage, he thanked us genuinely, "This is our fourth show ever.  It's been a real pleasure.  You've been beautiful."  James then played his first actual solo number of the night, an acoustic "Wonderful," which culminated in some sighs that sounded like a Muppet version of Elvis.  Realizing how silly it sounded, James remarked, "Do that when you go home and get in the shower tonight.  Just let it all out.  Let the day out."  The band joined him for some more My Morning Jacket tunes, "Wordless Chorus" and "It Beats 4 U," with James touching fans in the front fingertip-to-fingertip like E.T.  "Touch Me I'm Gong to Scream pt. 2" had fans screaming when MMJ bassist Two-Tone Tommy appeared to play electric guitar.  The song segued nicely into a joyous "Victory Dance" to finish out the memorable evening.




(Help is appreciated with Dean Wareham setlist.  Thanks.)

DEAN WAREHAM - 02.19.13 - MUSIC HALL OF WILLIAMSBURG (31 minutes, 22 seconds)

SET -
Star Shine* / When Will You Come Home / Blue Thunder / Strange / Somebody Tell Me Which Way* / Ceremony


JIM JAMES - 02.19.13 - MUSIC HALL OF WILLIAMSBURG (1 hour, 38 minutes)

SET -
State of the Art (A.E.I.O.U.) / Know Til Now / Dear One / A New Life / Exploding / Of the Mother Again / Actress / All is Forgiven / God's Love to Deliver

ENCORE -
Wonderful (The Way I Feel) / Wordless Chorus / It Beats 4 U / Touch Me I'm Going to Scream pt. 2 > Victory Dance

Sunday, August 26, 2012

2 Skinnee J's Jet Back to Willy B, Gangnam Style

Last night's concert at Music Hall of Williamsburg marked my tenth 2 Skinnee J's show, and my first in their homebase of Brooklyn.  A live band that never disappoints (Well, more on that in a bit...), 2SJ are hard to define to your friends.  "They're rap but with rock music."  "Like Limp Bizkit?"  "No."  Not only is their music more inspired by power pop than metal, their scholarly lyrics reference Shakespearean sonnets and name-check Eugene V. Debs, Socialist Party candidate in the early 20th century.  They also have three songs dealing with Star Wars.  If that sounds too nerdy to you, go listen to Rick Ross and Lil Wayne.  You don't deserve the J's.  But if you're willing to take a listen and see one of their epic live shows, replete with choreographed dance moves, roadies dressed as bunnies, and enough fist-pumping to give you tennis elbow, you're in for a real treat.

Unfortunately, after being jerked around by their label, the band gave it up in 2003, embarking on the "Fuck You, We Quit!" Tour. I saw them twice on this farewell journey, including the quintessential show at the Norva in Virginia, forever immortalized on the Enter the Gold Hat DVD.  The boys put away their microphones, Stevie Spice auctioned his keytar on eBay, and the band that had rocked scores of educated fans in the Mid-Atlantic region for over a decade, were done.

A reunion show, sans Spice, occurred about a year later, on a cruise in NYC.  In 2005, they reunited again, Spencer Albee on keys, for the Five Nights of Fury Tour, where they became the only band I've had the pleasure of seeing perform two shows in one day: outside at Artscape and then indoors at Sonar (Download the show here.).  In 2008, they did a two-night run at the Fillmore NY.  2010 saw them stripping down to an acoustic act, doing a Q&A in between songs.  A pattern had been established: 2 Skinnee J's will come back every few years to "show up, set up, get up, and rock spots."

So when the J's announced they were doing a pre-apocalypse-themed tour for 2012, I was not surprised.  I bought tickets for the Irving Plaza show on May 19th the day I found out. What was different was that these tickets cost over $30, a rarity for a 2SJ concert.  I had no problem forking it over, the eight amazing shows under my belt justifying the inflated price tag.  But when I arrived at the venue to find it not sold-out and the scalpers having trouble pushing tickets, I realized something was off.  Maybe the tickets cost too much?  Perhaps too much time had gone by without new music (Aside from a rarities disc in 2008's box set, the last album was released in 2003.)?

When the lights dimmed for the pre-show video announcing the Mayan Judgment Day, and that by attending the concert, we would be boarding a spaceship bound for a never-ending party (à la Scientology), I was super-pumped.  The video urged us to make noise...louder...I can't hear you!  And then the band drifted onto the stage instead of erupting with a rager.  "It's been a long time," remarked J Guevara with a smirk.  With a crash of Andy Action's cymbal, they stumbled into the "big green bus" intro to "The Best."  Arguably my favorite 2SJ song, it was too soon in the set and lacked the raucous energy it   typically has.  But wait a second!  Where the fuck was Stumpy (A.J. "Stumpy" Johnson, the band's owner and spiritual advisor)?  He was in the video intro.  Maybe he'd come out later?  But he never did.  Despite excellent performances of "Pluto" and "The Whammy," the show didn't really reach classic 2SJ proportions until "BBQ" fifteen songs in; not exactly the dizzying, hard-hitting set in a maelstrom of green balls from four years earlier.  Finishing the encore with "Sugar & Candy," which has never been my favorite song, gave the band a chance to space out at the end without torrents of rhymes overtop, but I was left in a weird place.  I brought friends so I could show off one of my favorite bands, and I found myself making excuses.

When they revealed one more date at the end of the summer at Music Hall of Williamsburg, I was skeptical.  Would the show just be a repeat of Irving Plaza?  Would Stumpy even show up?  With the revelation that they'd be shooting HD video of the performance for a DVD, I decided I didn't want to let the Irving gig to be my final 2SJ show.  I'd never seen them in Brooklyn before and this was their chance to dispel the slightly sour taste from May.  

I got to the venue at 9pm when opener, Exes of Evil, were to start.  The crowd was barely twenty people, so they delayed their set until more showed.  An electronic pop band, EXOE's songs' subject matter reflected the group's name.  They were decent enough to watch because they so genuinely believed in their tunes, despite their superficial lyrics.  Sadly, a laptop played all the infectious synth parts, while the lead singer remained curiously instrument-less.  If he can learn to play keyboards and vary his songwriting a little, they'll definitely improve.

Burlesque act, the Wau Wau Sisters, came next, moseying onto the stage in matching cowgirl outfits.  The beer-swilling ladies belched, "You may have heard we're dirty.  
We're fucking filthy, y'all."  Incestuous double entendres and yeast infection jokes abound, the Wau Waus had the crowd laughing from the start.  Over my left shoulder, the guffaws were coming from Special J and J Guevara.  The sisters claimed they were an "acroband" and sang irreverent country ditties while one would balance the other on her legs, sort of like playing "airplane" but with a guitar in your hands.  After dressing two male members of the crowd in their cowgirl garb, they even lifted them up with their legs, one dude weighing upwards of 250 pounds.  The girls ventured into the crowd to have audience members disrobe them, revealing black panties reading "FUCK" and "YEAH" stretched across their toned asses.  The two women climbed onto a solo trapeze hanging from the proscenium and proceeded to do an awe-inspiring gymnastics routine to the tune of "Welcome to the Jungle."  See them.

As they came down from the bar, the crowd roared.  J Guevara laughed nervously, "We have to follow that."

After the same video introduction from May, 2SJ made their way to the stage, with Stumpy in their ranks.  Donning a getup resembling Sacha Baron Cohen's in The Dictator, Stumpy took his place house left.  How much difference does it really make to have your manager onstage, standing there, stone-faced, only moving to drink from a beer bottle?  Apparently a lot, because the J's totally made up for the disappointing May show.

J Guevara's worries about succeeding the Wau Wau Sisters ("Dial that energy back to about a 6.") were assuaged almost immediately as the band propelled into "Pluto."  "Friends Don't Let Friends Listen to Rap Metal" (I guess they had trouble with the Limp Bizkit thing too.) started off the medley that most have come to call the "Force Trilogy," the three songs that sample sound effects from Star Wars.  As the cream of the cookie sandwich, "Irresistible Force," came to its close, the J's shouted "Gangnam Style," and leaped into the ridiculous Korean dance craze that was reprised four times throughout the evening.  After riding their invisible ponies, it was time to finish it off with "Mind Trick," right?  Wrong.  They surprised everyone by forgoing the end of the trio, instead segueing into "The Best."
These were the J's I was looking for three months ago!  By the time the band got to "Loud Neighbors," the crowd was going nuts, throwing cups full of beer around the room, and cheering at the sequence where the whole band mimes the slow-motion antigravity of the moon.  And Stumpy was there, so we got "Smack That Ass, Stump," although a relatively tame version where none of the band members got in on the spanking, only rabbit roadie butts.  I didn't see any video cameras, so I think they ditched the whole DVD plan, but BAMiAM.tv controlled the projected images on the screen behind them with her keytar.  While new keyboardist Cassius J is no replacement for Stevie Spice, if you had a nickel for every time a member left 2 Skinnee J's you could probably buy a ticket to the show.  For the encore, the band had us crowdsurf a "slow children at play" lawn ornament shaped like a young boy (They stole him from outside someone's house and are mailing back photos of him in debaucherous situations.), as they picked up the lost member of the trilogy, "Mind Trick."  Segueing into the Brooklyn anthem "(718)," I pretty much lost it.  I don't remember the last time I fully jumped into the air at a concert, but I'm pretty sure it was 7.18.08 for the J's.  "Think of Us" finished it out, the band letting us know, "We'll miss you," as they shot confetti cannons at us.

But why must they miss us?  Why must we wait so long between shows?  One of the rewards for the Kickstarter for the DVD is free tickets for life, but what's that: eight shows every three years?  Perhaps this is the reason it has yet to reach its goal.  I understand J Guevara lives in Spain now, but he even he expressed his uncertainty with the euro crisis before launching into "Sgt. Stiletto."  How about coming stateside and making some new tunes?  Aside from the addition of "Science," from the aforementioned rarities disc, the setlist would've contained the same songs in 2003.  They could be content as just a revival act, but with almost ten more years of knowledge inside their skulls, just imagine what the J's are capable of.  Now, there's even a genre of music called nerdcore, of which they are the unmistakable pioneers.  And their issues with labels are now moot, with today's technology allowing the recording and distribution of music to fall into the hands of the artists.  So 2 Skinnee J's, if you're up for it, it's time for a grassroots comeback.  Eugene V. Debs would be proud.


EXES OF EVIL – 08.24.12 – MUSIC HALL OF WILLIAMSBURG (31 minutes)

SET –
Ahh > Cheater Cheater / Die Alone / Satellite / Crazy / Do You / Take My Number / Come Back

2 SKINNEE J’S – 08.24.12 – MUSIC HALL OF WILLIAMSBURG (1 hour, 32 minutes)

SET –
Pluto / Friends Don’t Let Friends Listen to Rap Metal > Irresistible Force > The Best / Wild Kingdom / Pass the Buck / One Summer / Deal of the Century / Loud Neighbors / In the Clutches of the Diabolical Sgt. Stiletto / Big Beat Evangelists / Girl with the World in Her Eyes / Science / The Good, the Bad, & the Skinnee / Get in the Van > Smack That Ass, Stump > 3 Minutes / Riot Nrrrd > BBQ / Sugar & Candy

ENCORE –
Mind Trick > (718) > Think of Us

2 SKINNEE J’S – 05.19.12 – IRVING PLAZA (1 hour, 31 minutes)

SET –
The Best / Friends Don’t Let Friends Listen to Rap Metal > Irresistible Force > Mind Trick / Organic Machine / Get in the Van > Wild Kingdom / Pluto / Girl with the World in Her Eyes / Big Beat Evangelists > You’re a Champion / The Whammy / Deal of the Century / One Summer / BBQ / Science / The Good, the Bad, & the Skinnee / Loud Neighbors > In the Clutches of the Diabolical Sgt. Stiletto / Riot Nrrrd

ENCORE -
(718) / Sugar & Candy


Monday, August 13, 2012

Free Fun in Williamsburg (Part 2)

Remember when I saw Fun perform for free at Music Hall of Williamsburg?  Well, Walmart and T-Mobile have teamed up to post video of 5 songs from the set and an exclusive interview right here if you wanna check it out.  Definitely don't miss the stellar rendition of "We Are Young."

Saturday, June 23, 2012

Free Fun in Williamsburg

Last night, Fun played a free show for fans at Music Hall of Williamsburg. While the setlist was an abridged version of their recent run at Terminal 5, the small venue experience enhanced some of the performances.

My friend got into a 300-person line two hours before the 9pm door time. I had to catch a $25 cab (so much for free), but was able to join up at 9, the line obviously swollen since 7:00. Slowly inching around the block, inhaling secondhand smoke, and being rained on, it was quite the nerve-racking experience. Would it all be for naught?

Right before 10pm, security cut the line off about 20 people behind us. Success! We showed our IDs and made our way into the only available spot at the rear. Before we could even get our bearings, the house lights went down, and screams gave way to the opening notes of "One Foot." "I'm standing in Brooklyn, just waiting for something to happen," sang Nate Ruess, quenching the desires of a crowd who had done just that in line. "We've only been off tour for like three days. It feels so much better to be back," he admitted.

The set was so similar, it didn't feel very different from T5, aside from the awful squealing of lyrics by the girl behind me and the presence of camera cranes and dollies for a broadcast of the show on Walmart's website in July. The déjà vu remained until Ruess took a break to remove his shoes, and informed the crowd that Nelly's "Ride Wit Me" had just popped into his head. Andrew and Jack found the chords and led the crowd in a sing-along of the chorus. The fun moment was followed by a reflective "The Gambler," in which Nate had to stifle the handclaps of an eager crowdmember. "You're not gonna find the beat, my friend. I dictate the beat."

When the drumbeat to "We Are Young" kicked in, the show elevated to new heights. The acoustics of the room combined with the choral singing of the crowd really made this a special moment, seeing the hit single of the hottest new band performed in such an intimate setting. No one could remember the smoke-choked line we waited in in the rain; only that we were young and we were going to set the world on fire. Perfect.

As the band slipped into "You Can't Always Get What You Want," the Terminal 5 surprise seemed less unique... until they trumped it with this version, all in the face of incessant talking from the girl behind me, too young to know the Stones. The band left the stage, and the audience began chanting, "One more song!" which thankfully later morphed into "Encore!" Why only ask for one more song? Why not eight? Fun listened to the first chant and went with "Some Nights." The "oh-oh-oh-oh-ohs" bounced off the walls amazingly, and Jack took the opportunity for a shimmering guitar solo.

The sonic hat trick at the end of the concert had me giddy at actually being able to get into the show. I wish I could've seen them when I started listening in 2009 before they got huge, but I never had the chance. I just realized that next year they will likely follow in the footsteps of many artists who've been around for years and yet are still nominated for a Best New Artist Grammy. And I'm fine with that, as long as they win, and as long as you know I was listening to them way before you.


FUN – 06.22.12 – MUSIC HALL OF WILLIAMSBURG (1 hour, 4 minutes)
SET –
One Foot / Walking the Dog / Why Am I the One / All Alone / At Least I’m Not as Sad (as I Used to Be) / Carry On / Ride Wit Me (tease) / The Gambler / All the Pretty Girls / Barlights / We Are Young / You Can’t Always Get What You Want
ENCORE –
Some Nights