19 posts tagged “first avenue”
Last night was a true hometown celebration in downtown Minneapolis, with local bands Solid Gold and Tapes ‘n Tapes managing to completely sell-out First Avenue’s main room (and then some). The large venue allowed Twin City music fans the opportunity to pack the club and show their love to both bands, and gave the groups the chance to fill the room with the sounds and spirit that have garnered them all of the acclaim in the first place. Tapes ‘n Tapes have already made their way rapidly up the musical hierarchy and from all indication Solid Gold should soon join them on the national stage—last night’s entertaining and energetic show was further proof why both bands warrant all of the attention and accolades.
Normally, when you have three bands on the bill for a show at First
Ave., people are still filing in while the opener is finishing its set.
Friday night however, the club was good and packed by the time Solid
Gold took the stage. That must have been quite a confidence boost to
the band (who were playing one of their largest Twin Cities shows to
date), because they came out sounding tight and focused, with their mix
sounding superb and their smooth sound easily permeating the entire
club. By the time they played their second song of the night, “Armored
Cars,” they were settled in and the club was theirs for the taking.
They rattled through most of their stellar debut record, even playing
one new song that fit seamlessly into the flow of the set, and other
than thanking Tapes ‘n Tapes for having them as openers, kept strictly
to the music.
Tapes ‘n Tapes selecting Solid Gold to open the show was quite a smart move, and certainly no accident. Their longer than usual set (for an opening act) confirmed not only that they were a local band that Tapes were generously providing a larger stage (and audience) to for the night, but also that the band has the kind of sound and appeal that can fill First Ave. on their own, which I’m sure they will soon. I’m curious to see how they go over in Austin for SXSW but based on their captivating performance last night national success should be imminent. And these guys certainly deserve it for they have crafted one of the most unique and listenable local records in recent memory with Bodies Of Water, and have an enthralling live show to match. Solid Gold were given a golden opportunity to play to a full room at First Ave. and they stepped up and delivered a knock out set to an admiring audience that will most assuredly propel them on to bigger and better things.
Following Solid Gold’s set would prove to be a difficult affair for any band, and New Hampshire’s Wild Light, while being a tight live band with anthemic songs and earnest choruses, were a bit of a let down after such a stirring opening set. Under different circumstances their sound and style would perhaps be more engrossing, but I found myself anticipating the headliners more and more as their set progressed. “California On My Mind” is a hell of a song though, and was the highlight of their set for me.
With the club now packed well beyond capacity, Tapes ‘n Tapes didn’t waste any time in tearing into the beginning of “The Dirty Dirty” before the projection screen covering the stage was still rising, starting a fiercely paced set that rarely let up all night. Due to incessant touring and a burgeoning familiarity with their material, they have become an even tighter band since I last saw them headline the main room last year. Their sound last night was buoyed even more by the addition of drummer Jeremy Hanson’s brother Jacob on guitar during part of their set. It was clear right from the start that the boys were on point and out to set fire to the place, tearing through early set highlights “Hang ‘Em All,” “The Illiad” and “Headshock” without so much as a word to the capacity crowd nor much of a chance to catch their own breath. It was a blazing start that was inevitably bound to subside a bit, as it did with “Conquest,” which finally allowed front man Josh Grier the time to acknowledge the capacity crowd and thank us all for coming.
After a sped up and feisty version of “In Houston,” the set really took off with the rousing one-two punch of “10 Gallon Ascots” and “Insistor” that reminded me why these guys blew up in the first place. They tore through these familiar songs with the same intensity and energy that they did when the songs were first written, fleshing them out with a grittier sound and a potency born from years now spent on the road. Josh went on to say that this is the first time they’ve played Minneapolis while being in the middle of their tour, and it was nice to be home after three weeks on the road. The band also debuted a few new songs during their set that had a fresh and lively sound that will fit right in with their varied and distinctive catalog.
The set did have a few lags in energy (it would have been nearly impossible for any band to keep up that level of ferocity all evening), so while songs like “Demon Apple” and “Say Back Something” were good additions to the set, they just lacked the whip-crack potency of the earlier part of the show. That strength of sound returned quick enough, though, with the slow build of the cacophonous “Manitoba” and the frenetic set closer “Jakov’s Suite” that had a good part of the capacity crowd thrashing right along with the band. The encore was as tightly wound and focused as the main set, with the band wasting little time backstage before storming back out to play spirited and explosive versions of “Cowbell” and “Just Drums” that proved to be a perfect finale to a set that found the local band showcasing their continually evolving talent and dexterity before an audience that has been rooting for them since the beginning.
And that’s what the night ultimately became—a celebration of two local bands that, while already having achieved great things, are hopefully both bound for more. And if all goes well, the enormous crowd that greeted them at First Avenue last night will just grow in numbers and stick with them every step of the way. I know I will.
Please see my original review with many more of Jon's great photos at www.culturebully.com. Cheers!
It was quite a celebration on Saturday night at First Avenue, as a sold-out crowd showed a lot of love towards local hip-hop crew Doomtree, who in turn gave a lot of love right back, as well as an energetic performance that highlighted a collective that is currently hitting on all cylinders. With a handful of records out over the last year or so, as well as their first ever full-length under the full-crew Doomtree umbrella, and forthcoming records due out early next year from P.O.S., Sims, and Dessa, Doomtree had a lot of banging tracks to chose from, and most of them were on offer during the two-set, nearly three-hour Fourth Annual Blowout.
The fuse did take a little while to get lit though, as the early start time, combined with long lines at the door, had people filtering in (and warming up-damn it was a cold night in Mpls) while the first set was going. But the gang clearly was ready to provide whatever enthusiasm the crowd might have been lacking, initially, with the smile on P.O.S.'s face enough to light up the club on its own. So, while it took a while for the crowd to get into it, the band certainly was on point right from the get go, with the spotlight at the start of the show falling on the rhymes of Mike Mictlan, Sims, and P.O.S., who simply owned First Ave's revamped stage, with its small stairway leading down from the stage into the crowd adding to the engaging atmosphere in the club . It's been quite a year for the Doomtree crew, and Saturday night was a bash to celebrate everything they have achieved, and how a lot of their dreams and aspirations have been realized. Backed by DJ's Paper Tiger and Lazerbeak, the beats were solid and slamming all night, and each MC brought their different styles (and solo material) to the mic, blending their disparate techniques deftly throughout the entire show.
Cecil Otter stayed in the background for the beginning part of the set, but tore things up when he got the chance on an old track from his 'False Hopes' record, and really brought the first set to life with his rhymes. P.O.S. gave us just a little taste of his new record that's dropping in February, blowing up on 'Drum Roll.' I was actually hoping for a few more tracks from that record, but I'll have to wait until he perhaps does a record release show (or at least a local headlining show for his tour that begins in February) for 'Never Better.' Dessa also performed a few sultry tracks that might find a place on her forthcoming record in the new year as well. But this was a Doomtree show, after all, and a majority of the tracks the crew tore up (and seemed to enjoy performing the most) were from their excellent collaborative 'Doomtree' record. So, 'Drumsticks,' 'Gander Back,' and first set closer 'Game Over,' were all early set highlights that were brazen examples of how strong that record is.
So, after a short break, Cecil Otter came on stage, unaccompanied, and did a stirring trio of songs from his 'Rebel Yellow' record, that not only shows how improved his stage presence has become over the years, but how clever and self-deprecating a wordsmith he is. Next up was Mike Mictlan, who also did a rousing set of songs from his Lazerbeak produced 'Hand Over Fist' record. Mike announced the birth of his daughter to the crowd, before dedicating a spirited full band version of 'Prizefight' to her, which just might have been the best song of the night. And from that point on, the place was on fire. The room had reached beyond maximum capacity, and the hyped crowd just added to the groups energy. 'Accident' really tore things up, and then the crew literally tore things up, tearing off the huge letters that spelled out Doomtree on the DJ decks, and throwing them into the ecstatic crowd. The band even brought out I Self Devine on guest vocals for an incendiary version of 'Twentyfourseven' that had the whole crowd throwing their hands (and wings) into the air.
So, it was quite the revelry taking place on Saturday night, one where the band was nearly as happy as the audience, with all they've accomplished throughout the year. And the crowd made sure to show their appreciation, for not only all the great releases they've been responsible for over the years, but for an amazing show as well. One where the true talents of the band were on full display, as were the excellent songs that have now piled up in the Doomtree catalog. They had enough killer tracks to fill a nearly three-hour set and leave the audience breathless (at least those of us on the floor were.) So, well done, Doomtree crew. This show was a real celebration of all you have you have accomplished over the last year or so. And with such good records looming on the horizon, we know you aren't even close to being finished yet.
Please check out my review of this concert on culturebully.com, which features some excellent photos from the show.
Wow, Gregg Gillis sure can throw one hell of a party. With just a laptop and a copious amount of streamers, confetti, and toilet paper, the man known professionally as Girl Talk completely invigorated a sold out First Avenue, and turned a relatively tranquil Monday night into Dance Party U.S.A. With the stage completely filled with dancing audience members by the time the first few beats came out of the speakers, and the floor awash with flailing arms and mad gyrations, Gregg and his trusty laptop completely energized the room and, despite the lack of any real instruments being played and original music being created, Girl Talk put on one incredible show.
I think the appeal of Girl Talk is that there is a little something in his music for everyone, no matter what your tastes. He isn't just raiding the record collection of the indie kid, or the hip-hop head, it's a bit of all our collections that are incorporated into his music. If you just listen long enough, you are bound to hear the strains of a song you recognize and love in a new and unique way, and chances are you'll be bobbing your head to it. And once his set got started, it became a game of name that tune, with Beck beats over Cassidy lyrics, Weezer melodies meshing with Lil Wayne rhyme's, and a blur of NIN, Styx, Boogie Down Productions, and, well, Blur. And when thinking about my review, I was struggling with whether or not I should list what was 'played' by the song titles from Girl Talk records, or the actual songs he's sampling from. But it doesn't really matter. What matters is that the room was full, hands were in the air, heads were nodding, and Gregg was bouncing around nearly as much as the audience, clearly feeling the vibes and the heat of the crowd.
I was worried that First Ave would be one endless mosh pit based on what I've read and heard about Girl Talks live shows, and while both the main floor and stage was teeming with ardent dancers, there was still plenty of room to move on the periphery of the crowd and just enjoy yourself (perhaps because so much of the audience was up on stage.) So, it was nice to just nod my head to the music and bear witness to the madness unfolding in front of me. And there was plenty to take in, with the stage remaining full of dancing audience members all set long, and constant waves of streamers jetting out into the crowd. And everywhere you turned, people were smiling, which I think is essentially Gregg's ultimate goal with his musical mashups; playing songs that make people smile (and shake their ass, of course.)
It was quite a spectacle, and actually enlivened me this morning to the grand event taking place today (or, I should say events-voting, then Mr. Dylan.) And the timing of the show was perhaps the only unfortunate thing about Girl Talks set, for the party that took place last evening at First Ave would have been perfectly suited for tonight, around midnight, when hopefully these winds of change that have been blowing for some time now shake the foundations of this country and Barack Obama is elected President of the United States. We could all just put on Girl Talk's records really loud, invite as many friends as we can to come over and dance on our couch, throw confetti all over the place, and relive the experience as best we could. I truly hope it happens. My place is always available.
Please see my original post on this concert, along with more of Jon's great photos, @ Culture Bully. Also, check out more of Jon's wonderful photos at his Flickr Page.
Conor Oberst has finally found a band he can get completely lost in. After years of trying, with all the various lineups and incarnations of Bright Eyes, and even having The Faint as his backing band for a tour, Conor has finally found a group where the spotlight isn't constantly focused on him. Gone are the days when a nervous kid recited his delicate poetry over the hushed strumming of his acoustic guitar to often awed and adoring audiences; the new Conor is raising hell and a mighty racket with his Mystic Valley Band, and not looking back. He's clearly having more fun this way, and it makes me seriously wonder if most, (the band has played 'Lua' and 'Bowl Of Oranges,' occasionally during recent sets) if not all the Bright Eyes material, (none were played at last nights show) has been retired for good or just for now.
Playing with essentially the same lineup that was featured at the 400 Bar shows in December, when the songs on the new record 'Conor Oberst' were being fleshed out by the band for the first time in public, (guitarist Nik Freitas, bassist Macey Taylor, Jason Boesel on drums, Nate Walcott on keys, with the only new addition being Taylor Hollingsworth on guitar) Conor has unquestionably reached a comfort level with the musicians and the new material, allowing for a loose (perhaps too loose at times) and entertaining show. The show also featured plenty of brand new songs that aren't on the new album (or the four song tour-only e.p. 'Gentleman's Pact') which leads me to believe this Mystic Valley Band isn't going anywhere for the time being.
The show actually began with one of those brand new songs, 'Nikorette,' that was loud, rocking, and soulful. Conor was immediately engaged and enthused, climbing onto speakers and spitting out billowy streams of spit as he emphatically delivered his lyrics. 'Sausalito' was up next, and with the additional guitar, it was turned into quite an emphatic, rowdy rocker, and was quickly followed by 'Get Well Cards,' which became a bit of a crowd (and band) sing along, continuing the boisterous, guitar heavy start to the show. Conor and the band were in great spirits, clearly enlivened by returning to the city that Conor referred to as "one of the three homes that the band has." (with Tepoztlán, Mexico, where the album was recorded, and Billings, Montana, where Taylor made his live debut with the band, being the other two.)
This particular Mystic Valley Band was a much tighter and confident bunch than the tentative band that was still learning the new songs at the 400 Bar, and it showed throughout the night. But it was Conor clearly leading the way on the exquisite 'Cape Canaveral,' with the band muting themselves so the lyrics could guide the song home. The chorus of 'victory is sweet even deep in the cheap seats,' clearly resonated with an audience that is as prepared as Conor and the band are for change to come on Tuesday. It was the high-water mark to the start of the set.
'Moab,' kept the momentum going, becoming a brazen ode to the journey of discovery and change, an underlying theme to Conor's music and this concert specifically, coming as close as it did to election day (and following a free afternoon performance at the Loring Pasta Bar for the Get Out The Vote campaign). Change was in the air and on Conor's mind, but instead of feeling like a political lecture by someone who shouldn't be given a microphone, it felt much more like a participatory call to arms and a better way, wiht Conor claiming that collectively we can indeed make a difference "if we show up."
New song 'Slowly,' was next up, and it was anything but slow. Another rambunctious rock song that again found Conor climbing the speakers and drum stand, invigorated by the freedom the MVB was providing for him musically. He could hand over the vocals and guitar leads to anybody in the band (everyone except Nate sang lead vocals at some point during the night), and just fade into the background, content to let the song be the focal point and not him. The show hit a bit of a lull somewhat after that spirited number, and it lasted until the band played a bluesy, downright funky version of the standard 'Corina, Corina,' made famous by heralded local son Bob Dylan (who will be playing his own potentially politically charged local show on Election Night at Northrup).
That cover revitalized the show, which carried over into emphatic versions of 'NYC-Gone, Gone,' that was a stomping, uproarious jolt that carried over seamlessly into 'Souled Out,' which found the band turning up the volume and the discord, and Conor starting to show slight signs of inebriation as he bounded about the stage. But he settled down enough to deliver a stunning version of 'Milk Thistle,' with just Macey on stage with him, that closed the main set as the rest of the band left the stage. It was the night's only glimpse into Conor's musical past with Bright Eyes, with the focus and the spotlight falling squarely on him and his lyrics, and it was a potent reminder of his strength as a songwriter.
But his new direction with the Mystic Valley Band was made entirely apparent by the encore, when he didn't even sing lead vocals on both of the first two numbers. Taylor sang lead on the countrified and tragic 'Snake Hill,' and Jason sang lead on 'Sundown,' with Conor content to just sing backup and cavort around the stage with his acoustic guitar, clearly pleased to let others sing for a change. He was just a guy in the band, completely at ease and simply part of the whole, not the hub. He dedicated a rousing cover of Paul Simon's 'Kodachrome' to the people that introduced him to the song way back when, and the band and the crowd clerly had a lot of fun with this one, with lots of dancing and smiling spreading throughout First Ave. And that shared vivacity continued with 'I Don't Want To Die (In A Hospital)' the song I remember most from the 400 Bar shows. And it's good to see that the added practice didn't rob the song of it's initial zest and unbridled verve, perhaps even added to it, and Conor's lubricated performance even carrying over to play one of the worst (but thankfully brief) keyboard solo's I've ever heard. It was just another clear example that Conor has been freed from the pressure of being the focal point of the band, and now he's just another guy making noise on stage.
When he stayed at the keyboards for the next song, however, I was a bit worried, considering how his last attempt went, but the show closed with Conor leading the band through an absolutely gorgeous rendition of 'Breezy,' from the 'Gentleman's Pact' e.p. It was an emotional highpoint of the show for me, and is such a tender, truly moving song, that the band felt the need to bring one last bit of dissonance into the tune before the final verse, making a rousing racket to perhaps mask the stark poignancy of the lyrics a bit.
It was an exhilarating, confident return to Minneapolis for Conor Oberst & The Mystic Valley Band. One that found Conor being just a boy in the band, as opposed to these numerous labels the media has unfairly hung on him over the years. And freed from that pressure, Conor and the band played an untethered, spirited set, clearly enjoying sharing the stage and the spotlight with each other. And while I can't help but feel with this show the same way I do every time I see Stephen Malkmus --how can they go onstage and not play any of those brilliant songs they have in their back pockets?--I have confidence that Conor is committed to the cause and taking his music in a good, positive direction, and clearly having fun while doing it. And who can truly fault him for that.
SETLIST (Courtesy of Carl @ Cakein15.com):
Nikorette
Sausalito
Get Well Cards
Cape Canaveral
Moab
Slowly
I Got a Reason #1
Spoiled
Corina, Corina
I Got a Reason #2
NYC--Gone, Gone
Souled Out
Milk Thistle
Encore
Snake Hill
Sundown
Kodachrome (Paul Simon Cover)
I Don't Want To Die (In A Hospital)
Breezy
"It's really, really good to be back here," proclaimed TVotR's guitarist/singer Kyp Malone, shortly after arriving on stage to a full First Avenue Mainroom. Monday's show was the first of a two-night residency at First Ave for the band (and the I.D. show. All ages is tonight), one of only two two-night stays the band has on their current US tour (the other was in their hometown of Brooklyn.) So, the band knows it has a pretty rabid fanbase in Minneapolis, and the packed and passionate audience greeted them warmly.
So warmly, in fact, that the band had to extend it's intro to 'Young Liars,' to allow for the applause to die down. And what a sensational way to start. 'Young Liars,' found the band putting the pedal down early, finding their grove right from the get go. Lead singer Tunde Adebimpe certainly found his comfort zone quickly, gyrating and shimmying around the stage in time to the beat, all the while delivering his impassioned vocals with aplomb. And they certainly kept the momentum going with a fervent version of 'Wrong Way,' which built to quite an intense crescendo, helped along with the addition of Martin Perna from Antibalas Afrobeat Orchestra on saxophone. It was an interesting way to start off the concert, part of a tour for their excellent new record 'Dear Science,' with two of the oldest songs in their cannon, but the fuse was certainly lit, and the band built on that energy with a fiery version of 'Golden Age' that was the first new song of the evening, and got the crowd around me dancing, as most of the new tracks would throughout the night.
The new record is very steeped in horns, and the live tracks would have been missing something had Martin not been there, and his presence was a welcome addition to nearly every song. Another new member of the touring band was Katrina Ford, lead singer of the band Celebration, whose debut record not only was produced by TVotR's Dave Sitek, but features guest appearances from all of the band's members on vocals on various tracks. While I don't think her vocals were high enough in the mix to be heard completely, she has a lovely voice and an exuberant stage presence, and was a pleasant female addition to the rather testosterone heavy lineup.
I do believe the band hit a bit of a lull after 'Golden Age,' or perhaps there was just no way to keep up the intensity of the first three songs, because while I really enjoyed hearing the new songs 'Crying,' and 'Halfway Home,' the songs seemed to be a bit restrained when performed live, and I couldn't help but notice that the band lost the rapt attention of the audience around me during these numbers. That's not to say that the gradual buildup of 'Halfway Home,' and it's subsequent explosion of sound at the end didn't stir me, because it did, and it certainly got the attention of the crowd back as well. Which is a good thing, because the place really went off during 'Wolf Like Me,' with the main floor awash with dancing, fist pumps, and pogoing. I personally think this is one of the best rock songs written in the 'Aught's' (is that decade reference really catching on?), certainly one of the best to get any radio play, and apparently so did the audience, who collectively lost it during this number. It was great to see the energy of the band transferred to the audience, and back again, as the band was dancing and pogoing along with the audience.
And really, from this point on the concert was incendiary, with hardly a break to catch one's breath. It would be hard for an average band to play anything after 'Wolf Like Me,' which is why most band's would save a single like that for their last number, knowing they couldn't top it. But TV On The Radio aren't an average band, not by a long shot, and they kept rolling with 'Dirtywhirl,' that was a perfect near comedown from the heights of 'Wolf,' which blended perfectly into a stunningly beautiful version of 'Province,' again aided by the addition of Katrina and Martin. 'Province' was absolutely beautiful, and most assuredly would have been the highlight of the set on a typical night, but again, this was not a typical night. This was the most creatively consistent American band making music today, and they had a full arsenal of hits left.
Going into this show, the song I wanted to hear most (and the one I've listened to the most) from the new record was 'Shout Me Out,' and what do you know, it was next. This song really is an exultant call to arms, a sonic eruption that instead of being discordant, is instead unifying and brotherly. "Storm, cast me out. So I can feel it in another way I won't talk about...Lord, if you got lungs, c'mon and shout me out." It was the definite highlight of the show for me. The chaotic bits were given a different touch live, punctuated with Tunde shouting 'Hey,' in time with the beat that just elevated the cacophony. 'Dancing Choose,' was next, and it was relentless in it's urgency, utterly vital and loud. Tunde's lyrics were just another layer of noise, with the band really laying out for this one, especially Martin. It was a brief but potent moment in the show.
'Let The Devil In,' while not the percussive titan it was at their last First Ave show (when the entire band as well as opener Subtle grabbed something to drum on) was still a driving, booming beast of a song that still found most of the members of the band beating on something, and Katrina's vocals really shining through on the later half of the song. The set closed with Tunde and the band circling around to play 'Satellite,' from the Young Liars e.p. It was a really funky, jazzed up rendition, that again had the band expanding their sonic template and giving the song the freedom to evolve from the recorded version into something else entirely, closing out the main set on a complete high.
While the crowd roared it's approval, the band didn't really waste much time coming back out for the encore. And they eased back into the grove with a sublime version of 'Love Dog,' that was engaging and gorgeous. Tunde grabbed a cymbal to beat on for the next song, and Dave brought out another bass drum for a spirited, percussion driven 'A Method,' that was a treat to hear, and from the looks of it, was fun for the band to play as well.
With their music, and exuberant performance, the band seemed to be leading us towards a brighter day that hopefully is right around the corner. It was a jubilant performance by my favorite American band, and it solidified TV On The Radio's reputation for being an innovative, provocative live act. TVotR is making some of the most interesting and inspired music today, and it was a true pleasure to see them play these songs live. It was an incredible concert. Now, do I go and do it again tonight for the all ages show?
Setlist:
Young Liars
Wrong Way
Golden Age
Crying
Halfway Home
Wolf Like Me
Dirtywhirl
Province
Shout Me Out
Dancing Choose
Let The Devil In
Satellite
Encore:
Love Dog
A Method
Staring At The Sun
Thanks to Dave @ https://twitter.com/dtrip01 for the live video. I appreciate the use of your footage.
"We're Broken Social Scene. We're going to play our hearts out for you tonight," exclaims BSS frontman Kevin Drew, three songs in to their set in front of a packed First Avenue audience, where they were already playing their hearts out for us. And, it turns out, he wasn't kidding. The band proceeded to play for 3 hours, as a Monday night raucously turned into a Tuesday morning, leaving my head hurting the following day, my ears ringing, but a smile firmly planted on my face, evidence of a night well spent and thoroughly enjoyed.
It's been almost exactly three years since the last time Broken Social Scene graced the First Avenue stage, for their memorable and epic, nearly-Halloween show in 2005. There was a lot to live up to if the band wanted to equal the euphoria and spirit of that show, and while in the end they might have come up just short of that legendary performance, it was through no lack of energy or effort on the band's behalf, and no lack of love and admiration from the rowdy crowd. This was truly a night when no one wanted the music to stop, where Kevin stood on stage after countless encores, exclaiming, "I don't want to leave. I'm just going to stand here on stage until the rest of the band comes back out. You think I don't want to keep playing at one of my favorite venues in America...who am I kidding, it's my favorite venue in America." It's hard no to get swept up in that kind of sentiment, and, for this evening at least, Broken Social Scene were my favorite band from Canada (sorry Arcade Fire & Wolf Parade-come back through town again and I'm sure that will change.)
The band dug deep into their back catalog for the entire show (how can you not during a three hour concert), opening with what I think was a new instrumental track, before easing into 'Shampoo Suicide' from 2002's incredible 'You Forgot It In People.' And, from 'Fire Eye'd Boy,' on, the set was a blur of Brendan Canning leg kicks, horns, and anthems. It's comical for me to try and replicate the setlist in my head, not only because I indulged in quite a few libations before, during, and after the show, but the show was so long, with so many songs played, that it's impossible to come up with an accurate setlist. So, I won't bother. I'll stick to what I remember.
'7/4 (Shoreline),' was incredible, with Land Of Talk's lead singer Lizzie Powell singing Feist's part commendably, despite being so sick that she had to leave just 45 minutes into the set, leaving it up to just the boys to sing, dance, and have fun. And that is the operative word for the evening. Fun. It was a wildly fun set, sloppy at times, sure, but who doesn't expect a Broken Social Scene to be a loose affair. The new material, from both Kevin's 'Spirit If,' and Brendan's 'Something For All Of Us...' certainly benefited from getting the full BSS treatment, with 'Farewell To The Pressure Kids,' 'Backed Out On The...,' and 'Churches Under The Stairs,' all excellent and stand out tracks from the night.
And while the lack of a female presence on stage certainly changed the band's dynamic in a way (and perhaps changed what songs were available for them to play), it certainly didn't keep the band from enjoying themselves, and churning out hit after hit. 'Cause=Time,' was epic and lively, 'KC Accidental,' was so good that someone in the crowd late in the show shouted "'Play KC Accidental' again," 'Ibi Dreams Of Pavement (A Better Day)' was boisterous and awesome, especially with the horn section that joined the band on select numbers, and 'Superconnected,' was vibrant and grand.
This was a show that was loose, wild, a tad uneven and sloppy at times (hard not to be given the length of the set), but overall extremely enjoyable and engaging, where the band and audience connected and couldn't (or wouldn't) let go until every last note was wrung out of the band. Broken Social Scene put on yet another memorable and fantastic show at First Avenue, and I'm starting to think, happily, that is the only kind of show they put on.
And, special mention needs to be made of opener's Land Of Talk, who absolutely shredded during their set. Lizzie is an incredible guitar player, and they certainly made a bigger sound than their modest three piece arrangement would suggest. It was a great set, drawing heavily from their excellent new record, 'Some Are Lakes.' Lizzie's singing and guitar work reminded me of a harder edged Juliana Hatfield. I had not had the pleasure of seeing them live before, and thoroughly enjoyed their set, and hope that they come back through Minneapolis as a headliner (and when Lizzie's feeling better.)
Some music is just meant to be listened to LOUD, and Spiritualized certainly falls into that category. And last nights show, decibel wise, rivals any I've seen at First Avenue. Jason Pierce/Spaceman and his band brought the noise, as well as the sonic soundscape that shapes their music, and wowed the somewhat sparse Mainroom crowd. From the opening noise intro into a spectacular version of 'Amazing Grace,' Spaceman and company created waves of sound that crashed relentlessly over the audience all night. After tearing through a raucous version of 'You Lie You Cheat,' from their superb new record 'Songs In A&E,' they mellowed things out a bit with a soaring, impassioned 'Shine A Light,' from their excellent debut record 'Lazer Guided Melodies,' that really was the highlight of the evening for me. It built to such a uplifting, ebullient crescendo, that Jason could've said 'Thank you. Good night,' and left the stage, and I wouldn't have complained a bit. In these darker times, that song filled me with optimism and gave me a sense of promise that I haven't felt in a while. It was that moving. I was floored, and Jason and the band completely had command of the room and everyone's rapt attention.
Instead of the set lagging after such an incredible performance, it actually picked up quite nicely with 'Cheapster,' from 2003's 'Amazing Grace,' segueing right into a batch of new songs, 'Soul On Fire,' which is one of my favorite singles of the year, 'Sweet Talk,' and 'Sitting On Fire.' The new songs are a touch more raw than the bands earlier material, with less orchestration than Jason's used in the past, but the band (another guitar player, bass, keyboardist, drummer, and the two woman choir) really added depth to the new material, augmenting Jason's frantic guitar playing nicely.
There was a nice blend of new and old material throughout the set, and the show was paced really well. No talking between songs (of course.) with Jason not even looking at the crowd during the set, instead facing sideways on stage, towards the band. I was happy to see 'Ladies And Gentleman We Are Floating In Space,' on recent setlists, and the rendition last night was lush and gorgeous, reworked ever so slightly. It certainly was a highlight, as was the boisterous 'Come Together,' that always is a crowd pleaser, and a great song to hear live. Another favorite from the set for me was 'Good Dope Good Fun,' which was turned into a bluesy, swinging crowd singalong, and clearly found the band in top form-I almost saw Jason smile in realization that the band was on, and hitting on all cylinders. That momentum continued with a sparkling version of 'Lay Down In The Sun,' that really benefited from the lovely background vocals of the women in the choir (can you call it a choir when there are only two people? Sure.)
'She Kissed Me And It Felt Like A Hit,' was fantastic, a volatile, chaotic rocker that the band really expanded into a noisy guitar freakout. The sound, though extremely loud, was spot on all night, and it was nice to hear complete silence during the quieter moments of the set. I think the rest of the crowd was as transfixed with the performance as I was. 'Take Me To The Other Side,' closed out the main set, with the choir leaving the stage as the band really pushed their sonic boundaries to the limit. The jam bordered on self-indulgence, but quickly came to an end after Jason trashed his microphone stand, and slammed his guitar down in triumph. The rest of the band soon followed suit, with feedback ringing in the air. I thought that might be it, but the crew quickly came out to reassemble the mic's, and the band came back for an encore of 'Lord Can You Hear Me,' that was slow and exquisite, a fitting close to a show that had a little of everything-a perfect mix of the loud, turbulent guitar based songs, and the lush, gorgeous ballads. All the while, Jason stood stoic and unmoved, hiding behind his ever present sunglasses, not saying a word to the crowd, and not needing to. His sorrowful lyrics and magnificent music said it all. What a triumphant return to Minneapolis for Jason Spaceman and Spiritualized.
Jason Pierce (aka Jason Spaceman) brings his amped up guitars and soulful sound to First Avenue tonight, for what should be an incredible, and incredibly loud, show. It's the band's first full-scale U.S. tour in five years, and I really can't recommend it enough. Jason has fought through a bout of pneumonia that nearly killed him in 2005, and finally finished the album he was working on at the time of his illness, the beautiful 'Songs In A&E,' that was released earlier this year. We're lucky to still have Jason around, luckier still that he continues to make music, and luckiest of all that he is stopping by the hallowed grounds of First Avenue to play a show for us. Hope that you all make it down tonight.
For my review of the fantastic Nas show at First Avenue on Friday, it's important for me to start off by telling you what wasn't part of his show. There were no hypemen (other than two mc's who made a guest appearance on one song), no garish, ego stoking backdrops promoting the artist or his latest album, no neon lights in front of the dj reminding you of who was on stage, no smoke machines, lighting effects, or other distracting garbage that has been affiliated with too many hip-hop shows I've seen in the past. It was just one MC (and a great one, at that), one mic, and one DJ (DJ Green Lantern, who also spun an opening set for the evening). That's it. And that was all the near capacity audience needed for one of the freshest, most invigorating hip-hop shows I've seen in recent memory.
Coming onstage nonchalantly, casually dressed in a white t-shirt with just diamond encrusted crosses for bling, Nas tore through 'N.I.*.*.E.R.(The Slave and the Master),' letting us all know early on that he wasn't going to shy away from the controversy of his new 'Untitled' record, and the sentiment found within. And the crowd certainly kept Nas amped all night, with him frequently remarking on how good the crowd was making him feel, and how he has to remember to come back to Minneapolis more often. He kept the momentum up with 'Hip-hop Is Dead,' and a fiery version of 'Sly Fox' that had him adding fuel to his very public war of words with Bill O'Reilly. And from then on, the show became a blur of hands thrown in the air, and one hot track blending into the next, with Nas saying early on that he wanted to take us 'way back in the day,' dusting off classic 'Illmatic' tracks like 'N.Y. State Of Mind,' 'The World Is Yours,' and 'Represent,' to the roaring approval of the raucous crowd.
Perhaps the only complaint I have of Nas' set, and it's one I have of most hip-hop shows in general, is the prevelant tendency to only play part of one song, and quickly blend that into another track in order to get to all of the 'hits' during the show. Nas repeatedly asked the crowd if we wanted a second verse from one track or another, and of course we did-play the whole damn track if you want, nobody would complain. But, predominantly, it was one or two verses from a song, and then quickly on to the next one, which allowed Nas to dig through all of his back catalogue, reminding us of his longevity in the game by claiming that 'some of you were only 5 years old when I wrote this shit.' And it was true, the crowd was diverse both ethnically and agewise, but was unified, at least for one night, in their admiration of a true heavyweight in Hip-Hop.
My minimal complaints were dashed when he tore into a full version of the incendiary 'Made You Look,' the song I was most hoping to hear at the show. It was followed immediately by 'It Ain't Hard To Tell,' providing a colossal one-two punch that really can't be touched by anyone else in hip-hop. It was a glimpse of an artist absolutely owning the stage, the mic, and the crowd, unadorned and at the top of his game. Peerless, if just for an evening. He could have stopped there and it would have been a brilliant show, but he still had bullets left in his arsenal, blowing up the crowd with 'Got Ur Self A Gun,' and the final track, the superlative and skillful 'One Mic,' that was simply stunning. There was no encore, for there was nothing else to say, no need for any other songs. Nas has the skills, wordplay, and stage presence where one mic is all he needs to own the evening, and tonight, nothing else was necessary.
So, I decided that Elbow videos aren't enough to get me in the right frame of mind today, so I'm going to First Avenue tonight to see Nas blow the roof off the joint. This should be a hot show, even without Talib Kweli opening, like it was originally scheduled. His, ahem, 'Untitled,' record is one of my favorite Hip-hop albums of the year, and he has always had one of the best lyrical flows in the game, so I'm pretty excited to see him at the Ave tonight. There is a pretty good article about him and the show tonight in the Star Tribune, where he opens up about the controversy of his recent two albums, his past, and where he wants to take Hip-hop in the future. If you are on the fence about this one, you haven't been listening to the right kind of Hip-hop. Nas is going to blow shit up tonight, and he better do this track if he knows what's good for him.
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