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)

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

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

The Might Be Giants Science & Engineering Festival Setlist

Review to come.

THEY MIGHT BE GIANTS - 04.26.14 - WALTER E. WASHINGTON CONVENTION CENTER

SET ONE (41 minutes) -

Now That I'll Be Gone Intro* / Meet the Elements > Clap Your Hands > I Am a Paleontologist / Alphabet of Nations / Seven / Doctor Worm / Seven Days of the Week (I Never Go to Work) / Mammal / Science is Real / Older / Alphabet Lost & Found / Pirate Girls Nine / The Famous Polka

SET TWO (45 minutes) -

Stompy Intro > Damn Good Times / Birdhouse in Your Soul / Roy G. Biv / Number Three / The Mesopotamians / You're on Fire / Fingertips / Spiraling Shape / Why Does the Sun Shine? / Why Does the Sun Really Shine? / Istanbul (Not Constantinople) / Particle Man

They Might Be Giants Celebrate Album 1 at Terminal 5

On Saturday, I saw They Might Be Giants for the fifth and final time of this year.

Opening the show was Miniature Tigers, who I've followed since their 2008 full-length, Tell It to the Volcano.  By the time I saw them at CMJ that fall, I was well-acquainted with their songs.  I consider it my favorite album that sounds like anyone could've made it, which is a testament to their knack for melody and unconventional lyrical topics.  However, as the years have progressed, the band has morphed into a sort of Pet Shop Boys tribute act.  Paired with acoustic guitar chords, Charlie Brand's reedy voice was endearing, but set against the polished synths of their current material, he just sounds like someone who can't sing.  Brand expressed his excitement for They Might Be Giants: "I hope they play 'Fingertips.'  That's my personal favorite."  Yeah, and I wish you'd play "Cannibal Queen."  With no need to strum a guitar anymore, Brand has been relegated to awkwardly walking around during the songs, or resorting to exhibitionism like grabbing bandmate Rick Schaier by the shoulders to kiss him on the lips at the end of "Gold Skull."  While the big sound of "Oblivious" and a line about Aladdin on VHS in "We Used to Be the Shit" were pleasing, nothing was as original or spirited as the tunes on their first album.  They played nothing from it.

They Might Be Giants, however, performed their entire first LP.  "Released in 1986 to almost complete silence," according to John Flansburgh, their eponymous debut came to be affectionately referred to as The Pink Album, due to the pink background of the cover.  Listening to the vinyl in preparation for the concert, I realized just how influential a record it is.  It's difficult to imagine that the Elephant 6 Collective could've even existed had TMBG not paved the way in Pink.  Ever since the fantastic Celebrate Brooklyn gig, when They revealed that They would be playing the album in its entirety at Terminal 5, I was excited to finally see some of my favorites live.  And then came the announcement two weeks ago that it would be their last US tour date until 2015, taking things to a new level and causing me to put too much pressure on the show to be perfect.

TMBG took the stage as a different band in "The Mesopotamians," and quickly launched into the song that has traditionally opened their shows this year, "You're on Fire."  But fans like myself don't go to show after show just for the catchy songs; the witty banter between and sometimes even within those songs is what truly makes a TMBG show unique.  Flansburgh referred to "Tesla" as "almost all true.  This is like the Where's Waldo of songs.  I think if you listen to it, you can figure out the part that's not true."  After "When Will You Die," everything went dark.  Silence except for an answering machine recording of a woman named Gloria having a very hard time understanding what exactly They Might Be Giants means.  The infamous Dial-a-Song message primed the air nicely for the main event.  The two Johns, Flans on guitar and Linnell on accordion, returned to the stage, and began "I Hope That I Get Old Before I Die."  This meant two things: 1) They wouldn't be slaves the to the tracklisting, and more importantly, 2) Linnell would be playing a lot more accordion!  Their backup band returned for "She's an Angel," nicely countrified by some slide guitar from JF.  Two minutes into "Hide Away Folk Family," They commanded the crowd to "Scream as if you're in Hell," which was fun, but its best moment occurred when the Johns tried to approximate the rewound vocals at the end of the number.  If you were listening closely enough, you would've heard JL sneak in a "Meryl Streep."  "Boat of Car" followed, with Flans' vocals pogoing from Johnny Cash bass to Margaret Seiler mezzo-soprano.  As JF procured a harmonica for "32 Footsteps," we all learned that the instrument is symmetrical, so that you can accidentally play it upside-down.  This lead to a strange riff on adult-onset Alzheimer's, which Linnell tagged with "As soon as the show starts, we'll talk about it."  He finally put down his squeezebox and resumed his post at the keys for a rocking "Youth Culture Killed My Dog."  Before "Number Three," Flansburgh announced, "This is in the key of F."  "For those of you playing along," Linnell jested.  He switched to bass clarinet for "Hotel Detective," and then it was time for the tune I was looking forward to the most: "Rhythm Section Want Ad."  The first verse felt rushed, but everything was reconciled with an excellent "Powerhouse" section, Linnell banging on the keyboard as Dan Miller made his guitar sing like a Warner Bros assembly line.  It was my highlight of the night.

While the band teased Black Sabbath's "Paranoid," the Johns headed to stage left to stick their hands into the Avatars of They: two sock puppets that sing songs but are mainly known for their repartee.  "Toddler Hiway" was the selection they'd been given; in fact, the shortest song on the album.  "The first thing I thought was, 'The fuck?'" said the shafted Blue Avatar (JF).  The duo dropped their puppets for the bizarre "Chess Piece Face" and got the crowd singing on "Alienation's for the Rich," particularly the line about Miller High Life.  "Thank you!  We're gonna play a song from our first album," laughed Linnell.  They charged into "Nothing's Gonna Change My Clothes," segueing into "Absolutely Bill's Mood."  The record's biggest single and always-welcome setlist addition, "Don't Let's Start," completed the string of first record cuts.  After the obligatory "Damn Good Times," JL finally revealed his true feelings on the 11th president: "He was a dick." It was one of the more energetic takes on "James K. Polk" I've heard, and the potency carried over into the caffeinated version of "Black Ops."  "Doctor Worm" finished the set, although it lacked the punch of the horns, not to mention the fact that Dan Miller's mic wasn't on for half the song.

There was still one track remaining from Pink: "The Day."  Thankfully, the Johns came back to play it.  I'd noticed throughout the evening that the crowd had seemed divided, and this confirmed it.  Split down the middle by a too-tall guy near the front, the left side of the room waved their giant arms like trees, while those to the right stood idly by.  John and John then went to "Istanbul," their "take me back" interaction developing into a monk chant.  They wrapped up the encore with "Nanobots," Linnell facing the audience, while the band turned their backs to blend into the video projection.  After more applause, the members reclaimed their stage positions.  "We love this town.  We're thinking of staying," joked Linnell.  If there was ever a song to unite the segregated crowd, it was "Birdhouse in Your Soul," and it worked like a charm.  I was holding out for "The End of the Tour," but "Birdhouse" was an effective closer.  The band didn't reference their upcoming touring hiatus onstage at all.  I guess I would've rather not known about the 2014 no-show policy until after the concert.  I would've approached it differently; not as a farewell, but for what it was: a charming celebration of a great album.

MINIATURE TIGERS - 11.02.13 - TERMINAL 5 (30 minutes)

SET -

Never Gonna Let You Go* / Better Apart* / Gold Skull / Cleopatra / We Used to Be the Shit* / Oblivious* / Angel Bath / Sex on the Regular

THEY MIGHT BE GIANTS - 11.02.13 - TERMINAL 5 (1 hour, 35 minutes)

SET -

The Mesopotamians / You're on Fire / Tesla / When Will You Die > Untitled / I Hope That I Get Old Before I Die / She's an Angel / Put Your Hand Inside the Puppet Head / Hide Away Folk Family / Boat of Car / 32 Footsteps / Youth Culture Killed My Dog / Number Three / (She Was a) Hotel Detective / Rhythm Section Want Ad / Paranoid (tease) / Toddler Hiway / Chess Piece Face / Alienation's for the Rich / Nothing's Gonna Change My Clothes > Absolutely Bill's Mood / Everything Right is Wrong Again / Rabid Child / Don't Let's Start / Damn Good Times > James K. Polk / Black Ops / Doctor Worm

ENCORE I -
The Day / Istanbul (Not Constantinople) / Nanobots

ENCORE II -
Birdhouse in Your Soul

They Might Be Giants & Ben Kweller Rock WHYY Connections Festival

After their stellar Celebrate Brooklyn gig, it was a no-brainer to venture to the City of Brotherly Love for another They Might Be Giants "no-dough" show, this time at the WHYY Connections Festival.  We got to Philly a little early to take in some of the sights on the gorgeous day.  Following a tour of Independence Hall (looks the same as it did in 8th grade!), we waited in line for cheesesteaks (with whiz!) at Jim's Steaks on South St.  After struggling to find the entrance, we finally made our way into Penn's Landing, taking a concrete seat in the small amphitheater overlooking the Delaware River.

Philadelphia's own Jesse Ruben was onstage when we arrived, strumming an acoustic guitar and singing "If I Only Had a Heart."  I don't know that the singer-songwriter had expected to be playing to an audience half-comprised of toddlers, but he felt right at home, adapting the stories before his songs for the younger crowd.  "This is the cutest mosh pit ever," he commented on the gaggle of dancing kids that had taken over the area directly in front of the stage.  Following a batch of love songs, including "Bleecker & 6th" and "Love, Don't Turn Your Back on Me Now," Jesse said that it was time for him to go: "I've only got one positive song.  I saved it for the end."  Laughs from the parents. "It's about doing awesome stuff," he translated for the kids, and launched into "We Can."  My post-show research revealed that Ruben has been using the song as part of his "I Can" Initiative, where he travels to schools to teach students that we all can make a difference.  Now it all makes sense why he was able to handle the crowd so deftly.

Also no stranger to free concerts, Ben Kweller took the stage for a 45-minute solo set after a quick soundcheck.  Plugging in an acoustic guitar and piling on the distortion, Kweller chugged through "Mean to Me" and then switched the pedal off for a relaxed take on "Commerce, TX."  "I like the dance party," he said, motioning to the kids that still commanded the floor section.  Kweller shook his rat's nest of dyed hair as he cranked out a hard-edged solo for "The Rules" and then pulled things back for "Full Circle."  "I'm from Austin, TX, so I'm gonna play a quick country song," he announced prior to "Fight."  Following "Lizzy," Kweller retired his six-string, and moved to the piano for the waltz of "Gossip."  Towards the tune's finale, Ben asked, "Actually, can you sing this with me?"  The crowd joined in on the chorus and even took it one round past the song's end.  "See, you don't wanna stop," Ben laughed.  "That's the thing about gossip, I guess.  It keeps on going and going."  He abandoned "Thirteen" after deeming it "too downtempo," choosing to play "Falling" instead.  With just Ben at the piano, it was the first time I noticed how well the number would into a Broadway musical, with its soaring chord progressions and introspective lyrics.  Kweller went back to the guitar for a subdued "On My Way" and a rocking "Jealous Girl."  Tinkling out the first notes on the piano, Kweller asked the sound guy, "Can I get some more guitar?  I really need it for this one, man," and finished "Penny on the Train Track" on his acoustic, adding little asides into the lyrics.

As the sun disappeared behind us, the question loomed: With all the little ones present, would TMBG be modifying their setlist to include some family-friendly numbers from their four children's albums?  If the pack of nerds swarming the standing room once inhabited by dancing kiddies wasn't evidence enough, Dan Miller emerging to dive into "You're on Fire" answered my query.  This was a rocking adult show.  But make no mistake, the kids loved it too, twirling crazily in the aisles in their light-up shoes.  "Hey, horn guys!  Showtime!" yelled John Flansburgh.  Now labeled the Horn Guys for the remainder of the concert, the Tricerachops Horns joined the band for "Withered Hope," each taking a solo.  "The Guitar" went the disco route that it's been going this year, but They were hitting the groove even tighter than normal, and you could see it on the smile on Flansy's face.  The robo-vocals came out a little too sterile on "Nanobots," which I'll chalk up to the Riverstage sound system.  Then Flansburgh encouraged the crowd to stand for what he referred to as They Might Be Giants' "National Anthem," "Damn Good Times."

In a departure from the Brooklyn gig, They divided the crowd in two for the "Battle for the Planet of the Apes."  "People who are sitting down, stand up.  Don't make me resort to swear words in front of so many children," JF warned.  The battle commenced, and Flans even held out his left-handed Telecaster for some front-row apes to play.  The people won, but the apes didn't take the loss well, as the chant resurrected itself multiple times in the evening.  A lot of the show unfolded similarly to the Brooklyn show, but the "New York City > Ana Ng" segue still gave me shivers.  Dan Levine blessed us with a lengthy trombone lead-in to "Istanbul," though it was marred with crackling noises from the speakers.  However, that was nothing compared to what happened next, when the band took on "I'll Sink Manhattan" as fireworks erupted from the Camden-side of the river.  The explosions were only audible during certain sections of the tune, so they enhanced the performance instead of detracting from it.  "Let's hear it for those wireless things!" yelled Flansburgh, who had assumed interference had caused the popping sounds.  Stagehands directed his attention to the pyrotechnics behind him, and he chuckled, "This is in our rider."  They finished the set with a firework-speckled "Call You Mom" and "Birdhouse in Your Soul."

As soon as They stepped off the stage, the cheer began: "Apes!  Apes!  Apes!"  Marty Beller came back out and started up "123 Band Intro," which featured a funny vocal section from John Linnell.  "Hey, Mr. DJ" closed things out, swapping spots with "Birdhouse" since Prospect Park.  While I would've preferred a little more deviation from the last show, I couldn't complain.  If I complained about perfect weather, fireworks, and cheesesteaks, I'd be a real asshole.

BEN KWELLER - 09.07.13 - PENN'S LANDING (45 minutes, 37 seconds)

SET -
Mean to Me / Commerce, TX / The Rules / Full Circle / Fight / Lizzy / Gossip / Thirteen (tease) / Falling / On My Way / Jealous Girl / Penny on the Train Track

THEY MIGHT BE GIANTS - 09.07.13 - PENN'S LANDING (1 hour, 20 minutes)

SET -

You're on Fire / Withered Hope / The Guitar (The Lion Sleeps Tonight) / Nanobots > Damn Good Times / Battle for the Planet of the Apes / Icky / New York City > Ana Ng / When Will You Die / We Live in a Dump / The Mesopotamians / Put Your Hand Inside the Puppet Head / Doctor Worm / Trombone Solo > Istanbul (Not Constantinople) / I'll Sink Manhattan / Call You Mom / Birdhouse in Your Soul

ENCORE -

123 Band Intro / Hey, Mr. DJ, I Thought You Said We Had a Deal

They Might Be Giants Treat Brooklyn to Their Best Show in Years

"It will be the greatest night of all time!" tweeted They Might Be Giants yesterday before their Celebrate Brooklyn concert in Prospect Park.  Even with setting expectations the highest they could possibly be, They indubitably brought their A-game.  Shaking up the setlist and digging deep into their back catalog, TMBG unleashed the best show I've seen from them since 2005.  Maybe even 2004.

When I got to the venue, the standing room in front of the stage was sparsely populated.  That all changed as soon as Wenzl McGowen blew his saxophone up through a long construction cone in "Tubes."  People poured into the area to watch Moon Hooch, toddlers dancing on their shoulders.  Over the course of 32 non-stop minutes, the trio took the crowd on a journey deeper and deeper into their cave.  The theatrics of saxmen McGowen and Mike Wilbur kept the audience attentive, whether miming a tug-o-war in "Number 2" or McGowen deploying a goose honk at the front rows in "Number 9."  Following the set, Wenzl got emotional as he admitted that sitting in the Bandshell crowd four years ago, he thought to himself, "Damn, I gotta play this stage at some point in my life."  He added, "It's always funny that the universe provides."  Some fans wanted them to continue providing, starting a substantial chorus of "One more song!" but the show was already running behind.

As the lights went down for the main event, the mangled Sammy Davis, Jr. intro music played, and Dan Miller entered alone.  He picked up his electric guitar and started cranking out the riff to "You're on Fire."  He kept plugging away until the other members ran out to join him, John Linnell sporting a new haircut.  Taking stock of the crowd, Linnell offered, "Beautiful spread."  "This is the nicest brownstone I've ever been to," confirmed John Flansburgh.  "Withered Hope," came next, assisted by the Tricerachops Horns, who would accompany on ten numbers throughout the night.  Prior to "Nanobots," the Johns did a bit with JF speaking through his robot mic.  "What have you been doing in August?" Robot-Flans questioned Linnell.  "I've been lying on the floor with a damp cloth over my forehead," JL responded.  "It's funny because I know that," he said, breaking character to laugh.  Explaining how he'd taken a part-time job with NSA, Flans continued, "I've been reading your instant messages.  Like this morning: 'Adjusted the damp cloth on my forehead.'"  The horns were dismissed for "Damn Good Times," which benefited from a nice Dan Miller solo.  For "Icky," Miller played the melodica, a fitting instrument for the song, as Flans revealed its tube may have been confiscated by the health department.

When the band eased into "New York City" for their seventh song, I knew this show was different.  The tune is usually reserved for encores, especially when performed in NYC.  And then the band made one of the most inspired segues I've seen, injecting into its finale the crashing chords of "Ana Ng," effectively reacquainting NYC with its '64 World's Fair.  The Tricerachops Horns returned for another typical late-set tune, "When Will You Die," and it was interesting to watch parents dancing with their children in the aisles to such morbid lyrics.  The horns departed once more, and Flansburgh shared some advice from his father: "Whenever you're performing in front of 10 to 13,000 people, do not play a new song."  In defiance of his dad, Flansy unveiled a new, rocking version of "Black Ops" with JL on bass clarinet.  Linnell held onto the instrument for another Flansburgh-sung tune, "Cloisonné."  At its end, Flans led a crowd chant of "Bass clarinet!" that began to pick up steam.  Linnell attempted his own refrain of "The cheese stands alone!" but it didn't take.  While "The Mesopotamians" is far from my favorite TMBG song, I found myself singing along as I marveled at the lights, which were on point the entire show.  Dedicated to all the apartment-dwellers, "We Live in a Dump" followed, my first time seeing it live.  And then "Don't Let's Start?"  Damn, They were not messing around.

Then They surprised us all with the performance of the night.  Stripping themselves down to the original duo, the Johns took on "Istanbul (Not Constantinople)."  Having grown so accustomed to the show-closing full-bander with elongated Dan Miller acoustic intro, it was incredibly refreshing to hear it this way.  The song morphed into a comedy sketch as Flans whimpered to be taken back to Constantinople, each request of "Please?" or "Once?" met with a tugboat's "Noooooo" from Linnell.  The crowd howled with laughter at every refusal.  After that, They could've just coasted for the show's remainder, but They took no prisoners, dropping "Lost My Mind," "Puppet Head," "Doctor Worm," and super-rarity "I'll Sink Manhattan."  After a horn-speckled "Call You Mom," Flans announced that the band would be playing their debut album in full at Terminal 5 in November.  "We've been working in conjunction with NASA to come up with a special ticket code," he said, attesting that it could be found in the Perseid meteor shower.  (I won't share the code here because I'm going to try to buy tickets at the venue when they go on sale.  I can't stand service fees.  Flansburgh shared his feelings on the modern ticketing mechanism as well: "It's like a shitstorm from outer space.")  "We've got one more song.  It's from our second album, and it's called 'Mr. Me,'" said JF.  And then They launched into "Hey, Mr. DJ."  Had I heard him incorrectly?  No matter; I took the trade-up.

Marty Beller returned to take a seat at his drumkit to rev up the clap-happy "123 Band Intro," which saw Danny Weinkauf playing his bass with a drumstick.  The sleepy "Tesla" seemed out of place for the encore, but after such an energetic set, I understood.  Flansburgh upheld my suspicion, and admitted he flubbed the "Mr. DJ" thing.  So They invited the horns back out, and performed "Mr. Me" as a "special dedication to all the people who got their hopes up."  After such a spectacular run of songs, truth be told, I'd forgotten about "Birdhouse."  Then They played it, in all its glory, bringing the concert to its triumphant conclusion.

THEY MIGHT BE GIANTS - 08.10.13 - PROSPECT PARK BANDSHELL (1 hour, 35 minutes)

SET -
You're on Fire / Withered Hope / The Guitar (The Lion Sleeps Tonight) / Nanobots / Damn Good Times / Icky / New York City > Ana Ng / When Will You Die / Black Ops / Cloisonné / The Mesopotamians / We Live in a Dump / Don't Let's Start / Istanbul (Not Constantinople) / Lost My Mind / Put Your Hand Inside the Puppet Head / Doctor Worm / I'll Sink Manhattan / Call You Mom / Hey, Mr. DJ, I Thought You Said We Had a Deal

ENCORE -
123 Band Intro / Tesla / Mr. Me / Birdhouse in Your Soul

They Might Be Giants Contemplate Amputation at Acoustic Brooklyn Instore

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

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

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

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

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

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

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

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

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

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

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

ENCORE I -
Dead / The Mesopotamians / New York City

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