On Kweller and Blitzen

Those who attended Saturday's Roots & Rock Sessions Live at the Oval in Stuyvesant Town were given two t-shirts, a reusable water bottle, a beach ball, and two substantial sets by Ben Kweller and Blitzen Trapper... all for free!  And if you got there a little earlier, like me, you got something even more special.


My friend and I arrived in Stuy Town a little before 2pm, feeling a bit like spies because technically these shows are only open to Stuy Town residents and their guests.  Using the soundchecking of Ben Kweller as our compass, we found the Oval, a small lawn dotted with sunbathers in the center of the housing community.  After setting the levels and tuning up, Ben left the stage and took a seat at fold-out merch table.  I went over, said hello, and picked up a copy of Go Fly a Kite, his record from this year.  One of my favorite BK songs is "I Gotta Move" from his self-titled 2006 release, and I took a shot at requesting it.  Singing the opening line to refresh himself, Ben responded, "Ooh, we haven't practiced that one or played it in a long time, but we'll see what we can do."  "It's no big deal if you can't; have a good show."  "It's gonna be a quiet set because the neighbors start to complain."  "Great place to have a show then, in the middle of all these apartments," I joked.


And it turned out to be a great place for a show.  Starting out with "The Rules" from the first album of his I heard, 2004's On My Way, he followed it with a pair of tunes from Go Fly a Kite, "Mean to Me," and "Free."  "We're gonna do a song we haven't done in awhile now, and this goes out to Dustin," said Ben, leading to band into "I Gotta Move."  The first line was flubbed, but to no detriment, as Kweller played through and found the words immediately.  Yelling out the lyrics with passion, Ben and band seemed to surprise even themselves, and capped it all off with a searing guitar solo.  Check out a video of the performance below:

"We've got the loud ones out of the way now, so hopefully the neighbors won't yell.  This is an acoustic guitar," informed Kweller, brandishing his Dreadnought.  "Here's another song about getting a move on," he said as he launched into the jaunty "Out the Door."  Highlights included the biographical/geographical "Full Circle," the honky-tonk "Sawdust Man," and Ben Foldsy "Falling."  Kweller's straightforward banter and emotional-over-tonal singing makes you feel like he's one of your really talented friends who's gotten a break but deserves a bigger one.  As a result, everything feels intimate, and it is obvious that he really loves playing music.  The introduction to rarity "Red Eye" says it all: "We're gonna play a blues song because we figure when you're outside in the summer playing to a lawn, you might as well jam some blues."

I hadn't seen Blitzen Trapper since 2008 prior to the release of Furr, so the band I saw then has morphed considerably, two to three members fewer and a deliberate genre change.  Gone are the days of the Pavement-inspired "Miss Spiritual Tramp" and all-out weird "Woof & Warp of the Quiet Giant's Hem."  Hello, CSNY harmonies and harmonica on every song.  That's not to say that I don't like Blitzen Trapper anymore or that they didn't put on a good show; I just miss some of that frenetic energy they used to have when they possibly weren't as trained on their instruments and had to make up for it in strange noises.  Beginning with "Astronaut," they turned a few heads by pulling out a cover of "Hey Joe" from their 2012 Record Store Day release. (If you've followed the band as long as I have, you know that they recorded this back in '08, so it fit into the set pretty seamlessly.)  "Saturday Nite" and new songs "American Goldwing" and "Fletcher" were all standouts, but the big finale and cake-taker was a medley of "Gold for Bread," "Jericho," and "Big Black Bird," the last of which featured a tight a cappella breakdown.  While I don't see Blitzen Trapper going back to their noisy beginnings after the success they've had with this style, it would've been nice to hear something like "Big Adventure," at least to piss off the neighbors.

BEN KWELLER – 07.14.12 – STUYVESANT TOWN OVAL (1 hour, 2 minutes)

SET –

The Rules / Mean to Me / Free / I Gotta Move / Out the Door / Full Circle / Fight / On My Way / Sawdust Man / Gossip / Falling / Red Eye / Jealous Girl / Penny on the Train Track

BLITZEN TRAPPER – 07.14.12 – STUYVESANT TOWN OVAL (1 hour, 10 minutes)

SET –

Astronaut / Hey Joe / Saturday Nite / Sleepytime in the Western World / Texaco / Love the Way You Walk Away / Taking It Easy Too Long / God & Suicide / American Goldwing > Lady on the Water / Furr / Silver Moon / Black River Killer / Fletcher / Evening Star / Wild Mountain Nation / Gold for Bread > Jericho > Big Black Bird

An Arrow of Katy Perryness Misses the Bullseye But Hits the Target

"It's like being shot with an arrow of Katy Perryness," replied a young fan when asked what she thought of the show she attended on Katy Perry's California Dreams Tour.  Katy Perry's new documentary/concert film Katy Perry: Part of Me attempts to recreate this arrow for moviegoers, and while it does look fun, it's missing some magic.

I have to disclose some things before I continue.

1) I do listen to Katy Perry; not that often, but I've listened to every song on Teenage Dream at least 3 times.

2) I went to see this film mainly to see Katy's boobs in 3D.

Part of Me is a document of the behind-the-scenes dealings of Katy Perry's 2011 California Dreams Tour with 3D concert clips interspersed.  It also chronicles Katy's rise to fame from her Pentecostal upbringing to her first hit to her record-breaking five #1 singles from one album by a female.  It follows the same structure of Justin Bieber's Never Say Never, even down to the fan YouTube testimonials (Katy's fans albeit slightly older and way gayer).

The obvious difference between Perry's and Biebs' flicks is the conflict: Justin has a sore throat; Katy has a failing marriage with Russell Brand.  We get to witness a few of their interactions and put together our own conclusions as to why the fairytale ended.  Katy's rigorous yearlong tour schedule only made time for the occasional 3-day break, which she spent flying around the world to meet Russell.  Russell sends her a picture message of a McDonald's in LA with an address matching their anniversary, claiming they should name their firstborn Ronald.  "Babies can't have babies, and I'm still a baby," Perry admits in a confessional.  Sadly, the documentary crew has a horrible time keeping their shots in focus, and it looks very unprofessional.

The majority of the 3D concert footage, on the other hand, is a colorful treat for the eyes... and ears.  Katy sings all her songs live, and I respect her greatly for that.  The frequent costume changes (about 7 in "Hot N Cold" alone), mimes on wires, and giant purple Kitty Purry mascot add to the spectacle, but even though it's 3D, you never really feel like you're there; just wishing that you were.  It's a little like watching a tape of a Broadway show.

Unfortunately, for most of the movie, these two worlds rarely feel like part of the same film.  When they do come together, however, the film succeeds.  (SPOILER ALERT/BEST PART OF MOVIE ALERT)  At the movie's climax, Katy Perry's marriage has fallen apart and she's weeping backstage in her dressing room.  Her manager informs her, "You have two options.  You can cancel the show, or you can go out there and do your best."  As Katy Perry waits below a trap door, pinwheels spinning on her breasts, she is crying.  She composes herself and puts on a wide smile, which quickly fades to a shaky frown.  As the platform begins to rise to stage level, she reapplies the smile, this time with a little less teeth.  It's a moment that documentary filmmakers live for, and thankfully they got it in focus.

NOTE TO PERVS:

There is some nice boobage in the movie, though with the majority of 3D movies now preferring recessed dimension over outward projection, the most you're gonna get in your face is a microphone stand.

STOP FUCKING GOING TO CONCERTS TO FUCKING TALK!!! Also, Donavon Frankenreiter Starts Livin'

I saw Donavon Frankenreiter for the third time last night. It's always been a good show, from watching his original amazingly talented percussionist stageside at Bowery Ballroom, to being genuinely shocked at seeing him perform "Lovely Day" last year at the Bowl. And these moments will be the memories that remain with me for as long as I will see Mr. Frankenreiter perform. Sadly, last night's show was so obfuscated by crowd noise that it will likely be the noise itself that I remember.

Rayland Baxter was the first to compete with the disrespectful audience. The complete lack of enthusiasm from the concertgoers (even though they still filled the front of the room) meant I was the lone person clapping when he asked how we were. He thanked me into the microphone. Buzzing from the amp on the first song did not help the matter, but Rayland had the sound tech fix the issue before he continued. Awkward stage banter ensued: "My middle name's Alan. I'm a fuckin' Libra." He reminded me of early Matt Costa with more of a country bent, germinated from his lifelong residency in Nashville. Despite the din of the majority, there were some of us paying attention to Baxter's folksy ditties, so he continued to push on, playing a 53-minute opening set. His debut album drops in late August on ATO, so be sure to click through to his website, provide your email address, and get a free download of the instantly likable "Driveway Melody." Or watch a heart-wrenching rendition of his song "Olivia" below:

Donavon and crew took their places a little before 10pm. I immediately noticed a difference in his appearance/attitude than past times. Sporting a shorter haircut (though still shaggy), a red button-down, and white pants, he seemed a little more mature than a professional surfer; more like a surfer dad. The set started with "Free," this version taking its cues from Hawaii à la Revisited, with Matt Grundy supplying the ukulele. After "Glow," he premiered "You" off of his new album, Start Livin', free to anyone in attendance. As is lamentably the case with new songs at concerts, the audience took the chance to start talkin'. So Donavon roped everyone back in with "What'cha Know About." It was at this time that I looked around and identified this as the most populated show I've seen at Brooklyn Bowl. And that almost everyone was talking.

Donavon makes wonderful "barbecue music." You can put it on at a cookout, and no one will stop eating or speaking to perk up their ears, but they will enjoy it when they catch themselves listening when whoever they're talking to goes to the bathroom, or during a lengthy chew on an overcooked piece of steak. Unfortunately, if you go to a Donavon concert, expect a lot of people to have never left the backyard. I can't even tell you how many reunions I overheard instead of lyrics to new Donavon songs. Even old Donavon songs. One gaggle of cunts was especially annoying until they thankfully migrated closer to the stage. And why do people ever take pictures together in the crowd at a show? Not even with the stage in the background! "And here's us in a group of strangers." When Donavon asked for requests, he was met with "American Girl!" He obliged, and improved it since last year, but why not shout one of his songs? I wish there was some sort of required concert-going etiquette course that everyone has to pass before they can fill out the captcha on Ticketmaster.

In spite of all this bullshit, the show was still good. Most of the set drew from his first album, which is no surprise from Donavon, but he sprinkled some newbies in, including "Shine" and "Start Livin'," with its chirpy organ. Donavon said the show was surreal because he was watching his family bowl the whole time, and was unsuccessful in his attempts to get his son Hendrix to drum on "Call Me Papa." The band had some fun with "Lovely Day," but the real highlight was the final three-song funkfest of "The Way It Is," "Move by Yourself," and a chunky "Byron Jam." Donavon came out solo for the encore, saying, "I'll play anything you wanna hear." I don't know if anyone actually requested it, but he chose "On My Mind." The band rejoined him for "It Don't Matter," which devolved into a karaoke contest, with crowd members literally taking turns coming onstage to sing the chorus into the mic. I would've preferred another song or two instead of that nonsense, but it was the perfect conclusion for the crowd full of assholes.

RAYLAND BAXTER – 07.07.12 – BROOKLYN BOWL (53 minutes)

SET –

Keep Your Head Up* / The Man / Willy’s Song / White Buffalo* / Mountain Song / Olivia / The Cold & Easy Life of a Loner* / Birdy Blue / Bad Things* / Dreamin’*

DONAVON FRANKENREITER – 07.07.12 – BROOKLYN BOWL (1 hour, 30 minutes)

SET –

Free / Glow / You / What’cha Know About / Heading Home / American Girl / West Coast Fool / Shine / Life, Love, & Laughter / Your Heart / Call Me Papa / Bend in the Road / Lovely Day / Start Livin’ / The Way It Is / Move by Yourself / That’s Too Bad (Byron Jam)

ENCORE –

On My Mind / It Don’t Matter

Alabama Shakes Don't Live Up to Hype & March of the Penguin Prison

I did a double-header last Sunday: Alabama Shakes at Rumsey Playfield, followed by Penguin Prison at Brooklyn Bowl. I'm probably going to upset a number of you when I say Alabama Shakes are really good, but not great, live. If you want to just believe all the hype and quit reading now, I understand. You're a hipster. But if you're a real music fan, I encourage you to read on.

Doors for the 3pm show were at 1:45, and I was actually freaking out during my commute, believing that I wasn't going to get in because I was going to arrive around 2:15. Thankfully, there was no line, and I made my way to a choice spot in the center. The standing room tightened with each minute and by the time Houston-based Robert Ellis walked onstage, the venue was about 500 humans short of capacity. Those who made it early were exposed to his take on outlaw country, from barnstormers like "No Fun" to introspective ballads like "Photographs," the title track off his latest release (which I would've bought if the vinyl wasn't fucking $25. Come on.). Having played to eight people, one of which was his wife, the previous night in West Virginia, Ellis and his band lapped up the energy from the mass of people, and injected it back into the highlight of the set, a cover of the bluegrass tune, "Ruby, Are You Mad?"

After a short break, the nine to eleven members of Diamond Rugs, who I was almost more excited to see than Alabama Shakes, piled onto the stage. After about a minute of incoherent chatter, they oozed into "Hightail," the first song off their eponymous album. John McCauley of Deer Tick fame grabbed the mic for second song, "Gimme a Beer," with joyous trombone and baritone sax parts punctuating the chorus. Hardy Morris of Dead Confederate took the reigns for "Big God" and traded the microphone back to McCauley for what is sure to become one of my favorite songs this year, "Call Girl Blues." It was at this point I realized they were playing their album in order, and they kept this formula for their set. It worked well, though, because no one member sang lead vocals for more than two songs in a row. "Totally Lonely" was exponentially better live than recorded, with all the members joining producer Justin Collins on the final refrain. For the set-closing "Christmas in a Chinese Restaurant," which I had seen Deer Tick perform before, the group thinned its ranks to a duo of McCauley and Los Lobos' Steve Berlin. The fact that it was merely days after the summer solstice only amplified the beautiful sadness of the song.

The most glorified band of the year, Alabama Shakes, were up next, packing Summerstage to its limits. Thankfully they chose to forgo the rigidity of their album, quietly welcoming the crowd with "Goin' to the Party," which I had predicted would be the only placement for the song in a live setting (It kind of kills the momentum of the album, but it probably wouldn't work as an album lead-off track either.). Exploding into "Hang Loose" and "Hold On," the Shakes had the crowd eating it up, but I wasn't totally sold.

Here's the deal. Frontwoman Brittany Howard is a sight to behold. Her powerful voice, accentuated by the pronounced shapes of her mouth while she's howling out her lyrics, makes her the prime candidate to lead a band. Unfortunately, the rest of the members don't live up to her. Don't get me wrong; the Shakes are all great musicians and they do sound better live than on record. But they made me realize how important stage presence is. Save for a few smiles from guitarist Heath Fogg, you couldn't

tell if the band members were actually enjoying it, or even if they knew they were playing to a crowd. Perhaps this concentration is what keeps them on top of things musically, but I like a little showmanship with my rock 'n' roll. When Brittany set aside her seafoam green Gibson and took the mic from its stand for "Be Mine," things improved. Stuck behind her stand for the previous numbers, she barely moved, aside from her aforementioned mouth and her curls billowing in the summer breeze. When she traversed the stage, you could follow her with her eyes, distracting you from the statues making the bluesy funk behind her. I hope that with more and more stage time, the young band will develop a little more sizzle in the future, or at least acknowledge that they are playing to 5000 adoring fans.

I hightailed it home so I could eat dinner and a half a brownie before heading over to Brooklyn Bowl for the next show. It started an hour later than advertised, so I made it in time to see two shitty support acts. Before Penguin Prison's set, I situated myself about three people back in the center. Chris Glover and band geared up and took us on a trip on the "Golden Train," with Glover climbing off the stage and into the crowd, pacing through us as he sang. It's not uncommon for artists to bring the show onto the floor, but I don't think I've ever seen it happen during the first song. I think it represents Chris Glover's newfound confidence by using the Penguin Prison moniker. He has always seemed a little socially awkward introducing songs, though it usually came off as funny, almost Hedbergian. Now that he has reincarnated himself as a new disco/remix artist with a ridiculous name, he seems more comfortable in that he's playing a game, not baring his soul. Hell, even when he performed as Chris Glover, he made sure to put it in quotation marks ("Chris Glover"). "Golden Train" segued nicely into "The Worse It Gets," as did "Animal Animal" into "A Funny Thing." He finished the set with "Blue Jeans," a remix/cover of a Lana Del Rey song, which you can download here. As I could give two shits about Lana Del Rey, it was a little disappointing. For the encore, he broke out "Multi-Millionaire," this time entering the crowd with his guitar. My main criticism would be the meager 47-minute set duration. Chris Glover has several unreleased songs from the period of his career directly preceding Penguin Prison that I find to be his best work. A well-placed "Hold My Soul" or "Tear Stains" would not be too much of a departure from his new sound, and would undoubtedly prove his versatility. I can't really complain. I had a great time dancing and singing along, and isn't that what it's all about?

ROBERT ELLIS – 06.24.12 – RUMSEY PLAYFIELD

SET –

Westbound Train / Comin’ Home / What’s in It for Me? / Two Cans of Paint / Flames of Hell* / Pride / No Fun / Photographs / Jam > Ruby, Are You Mad?

DIAMOND RUGS – 06.24.12 – RUMSEY PLAYFIELD (58 minutes)

SET –

Hightail / Gimme a Beer / Big God / Call Girl Blues / Out on My Own / Country Mile / Totally Lonely / I Took Note / Blue Mountains / Motherland / Tell Me Why / 100 Sheets / Hungover & Horny / Christmas in a Chinese Restaurant

ALABAMA SHAKES – 06.24.12 – RUMSEY PLAYFIELD (1 hour, 4 minutes)

SET –

Goin’ to the Party / Hang Loose / Hold On / I Found You / Rise to the Sun / Always Alright > Boys & Girls / Be Mine / I Ain’t the Same / Mama / Hurricane Strut / Makin’ Me Itch / Heavy Chevy / You Ain’t Alone

ENCORE –

Worryin’ Blues / On Your Way / Heat Lightning

PENGUIN PRISON – 06.24.12 – BROOKLYN BOWL (47 minutes)

SET –

Golden Train > The Worse It Gets / Something I’m Not / Animal Animal > A Funny Thing / Fair Warning / Don’t Fuck with My Money / Hollywood / Blue Jeans

ENCORE –

Multi-Millionaire

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

Soulive and Karl Denson Play a Quick Set

I went to Summerstage today to see Soulive play with Karl Denson. I've had mp3s by the goateed saxophonist for ten years now, and I was introduced to Soulive five years ago, when I worked with the Evans brothers' brother. This was right when they released No Place Like Soul, adding Toussaint the Liberator to their lineup as vocalist. Purists rejected the new sound and Toussaint moved on, which was a letdown for me because I found him to be quite a welcome addition. Admittedly, I've never been a huge jazz fan. I can appreciate it, but it's not something I listen to frequently. I'd never seen Soulive or Karl Denson, so now was the time.

The line to get into the event was long, likely due to opener Riq & Rah (Black Thought and Rahzel). I caught some of their performance, but mainly had to listen in line as they covered recent hip-hop songs like "Hip Hop is Dead" and "Otis." "If your friends are out there now, wave goodbye to 'em," informed the security guard who let our batch of the queue inside. I made my way in just as they took things way back with Slick Rick's "Children's Story." Their set ended with the last verse of "The New Style" in a tribute to Adam Yauch.

Soulive and Denson took the stage modestly, and then dropped a bomb on the crowd, with what would possibly be their funkiest song of the night. Guitarist Eric Krasno played with an intensity that suggested he was fighting inner demons, and Neal Evans spun sonic spiderwebs with his Hammond B3. Karl then traded out his sax for a flute, and they played the title track off their collaborative EP Spark! that comes out on Tuesday. The release is a tribute to jazz guitarist Melvin Sparks, but I'm not sure if the songs are covers or just similar in sound to his work. Song three featured an amazing saxophone solo by Denson (Maybe it was the funkiest?) and some slick drumwork by Alan Evans, who holds his drumsticks in the traditional grip, making it appear so effortless.

After three jazzy workouts, the final song was a misstep in my opinion. It began with some ominous bass keys and flute, but then Krasno started sprinkling Moroccan guitar riffs into the mix, causing the groove to sort of unravel. Amping up the licks with Hendrixian distortion towards the end of the song seemed a last ditch effort to bring it back together. It would've been less of a disappointment if they had played another song after, but those 37 minutes were it. It burned bright at the start, but before you knew it, it fizzled out and was over. Spark indeed.

Pre-Father's Day Fun.

Fun (I refuse to put periods where they impede upon sentence structure, so deal with the lack of stylized punctuation.) started off their run of two sold-out nights at Terminal 5 tonight. Who would've thought that only a year ago when I saw them open for Panic! at the Disco (Yet I had no problem putting an exclamation point there?), and they began their set with "We Are Young," that it would become the spring hit of 2012?

Well, it did, and that meant thousands of fans packed like sardines, singing along to songs from both Some Nights and Aim & Ignite. The sound was actually very good for Terminal 5, allowing me to fully appreciate Jack Antonoff's bright guitar-playing. As you'd expect from Fun, the show was bursting with energy and rarely set aside much time for banter (aside from one notable discussion of how New York is now their hometown, even though Nate still has an Arizona license. "He looked like Steve Buscemi before we all got to know him as a great guy. You know, the first time you saw him, he stressed you out a little bit," said Jack.). The show also featured the lengthiest eruptions of confetti I've ever seen, causing whiteout conditions, as evidenced in the photo below.

The surprise of the evening was not ending the set with "We Are Young," but launching into a cover of "You Can't Always Get What You Want." While I've heard better versions, it was nice to see them defy expectations. Also kind of shocking was the limited use of auto-tuning (I only noticed it during "Some Nights.") so liberally employed on the new record. Highlights for me were "All Alone" and the first encore tune, "One Foot." I hope they play the same exact set tomorrow, so I don't have to feel any shame in trading my tickets for tonight's show.

FUN – 06.16.12 – TERMINAL 5 (1 hour, 25 minutes)

SET –

Some Nights (Intro) / Some Nights / Walking the Dog / Why Am I the One / Light a Roman Candle with Me / All Alone > It Gets Better / At Least I’m Not as Sad (as I Used to Be) / Carry On / The Gambler / All the Pretty Girls > Barlights / We Are Young / You Can’t Always Get What You Want

ENCORE –

One Foot / Take Your Time (Coming Home)

Grace Potter Gives a Private Show

Move aside, Emily Haines. A new favorite frontperson is in town.

Grace Potter and the Nocturnals rocked Irving Plaza last night as part of Rolling Stone's Private Concert Series. I'd seen Grace Potter maybe five years ago, when she was pretty much just known on the jam band circuit. I remember enjoying that show, but last night I was fairly blown away.

At 9:37, the band took the stage to the tribal drums of the title track off their newest album, The Lion the Beast the Beat. Having released the LP on Tuesday, the set was heaped with fresh tunes, and Grace wasn't ashamed of it. "If you don't know it, just fucking pretend you do." The album sounds different than anything they've ever done before. I've always thought of Grace and the Nocturnals as a band that you could drop into the late '60s/early '70s and they'd fit right in. Their eponymous 2010 album delved into mid-to-late '70s-era pop/rock, and The Lion leaps forward into the '80s. With its angular guitar lines and drum machines, tracks like "Never Go Home" sound more like Tom Tom Club than Janis Joplin. How would this sonic departure fit into their live show?

Surprisingly well. While the band tended to have more fun with the older material (The end of "Oasis" featured a jam with some killer Allman Brothers-style guitar interplay.), they were quite confident with the new tunes. By the time they hit "Timekeeper" halfway through the set, they were all smiles.

And so was I. Grace Potter looked amazing in her post-Memorial Day shirt/dress thing with matching Daisy Dukes. She danced the whole show all over the stage. (I don't think she ever learned to just walk anywhere.) You could actually watch her feeling the beat as it convulsed through her body and out her mouth off the tongue that seemed to so frequently emerge. When she belted out a song, she didn't just sing with power; she channeled her love of music into her vocals, and it's awesome. On ballads like "Stars," you could see her dealing with the same pain she felt when she penned the song. Trying to quell my recent vinyl addiction is going to be damn near impossible after seeing her seductively twirl her microphone stand while singing, "I will be your record, and you will be my turntable." She ended the set with "Medicine," and I immediately felt withdrawal symptoms.

They didn't last long, however, as the band reappeared for an encore of Jefferson Airplane's "White Rabbit," both parts of "Nothing But the Water," and a rousing Rolling Stones' cover "Happy." Hell, it was Rolling Stone's event. "There are a lot of parties in New York, but there aren't a lot of good parties," said Miss Potter. This was one of the good ones.

GRACE POTTER & THE NOCTURNALS – 06.14.12 – IRVING PLAZA (1 hour, 47 minutes)

SET –

The Lion the Beast the Beat / Never Go Back / Ah Mary / Sweet Hands / Parachute Heart / Stars / Timekeeper / Oasis / Turntable / Keepsake / Stop the Bus > One Heart Missing > The Divide / Paris (Ooh La La) / Medicine

ENCORE –

White Rabbit > Nothing But the Water (I) > Nothing But the Water (II) > Happy