When I heard that Beach House was playing in Nashville, there was no question in my mind that I was going to make the drive. Better yet, Washed Out was slotted to open. We made the drive down, hit a few record shops (Why is it that Nashville has a better Will Oldham, Palace, BPB selection than here?), then headed over the the Mercy Lounge for the show. If you haven’t been there, it is the smaller sister venue to the Cannery Ballroom. I’d say there is room for a couple hundred people there. Picture half of Headliner’s. Apparently there was some big country show in the Ballroom, so Beach House ended up in the smaller venue and the show sold out weeks before the date. I feel bad for those folks who wanted tickets, but selfishly, I enjoyed the small feel of the show.
Washed Out opened and other than hearing a few track from an EP which I really enjoyed and reading all of the buzz, I had never seen a picture of the live show. I did know that the sound is often hard to reproduce live. The sound stems from the ever-growing chillwave revolution and, turns out Washed Out is one guy, Ernest Greene. He was into it, but the crowd really wasn’t. The main problem is with that type of music, you don’t know whether to dance, sway, jump, reflect or maintain a steady nod while sipping a beer. No knocks on the show and I still love the music, this is just something to keep in mind when selecting live shows.
I was there for Beach House. Teen Dream is my favorite album so far in 2010 and I can’t imagine an album surpassing it (not even my favorite band, The National). Beach House is a dynamic trio, each with enough talent to put us all to shame. The album, from start to finish, just keeps digging and digging on you and forces you to listen. The melody isn’t necessarily catchy in the “you’ll be humming this one tomorrow” sense of the word, but it does had a tendency to put you in a bit of a trance. What really gets me is the vocals of front-woman Victoria Legrand. They are husky and deep, but still feminine without rough edges. Guitarist, Alex Scally’s vocals were more present on previous albums, but Legrand takes center stage with Teen Dream (and I’m not saying the other two albums aren’t great, but the change was refreshing). Please, please, please listen to this album immediately.
So needless to say, I had high expectations going into the show. The sound translated easily to the small venue because it filled the room, bouncing off the walls and commanding attention (unfortunately, as in every venue there are a few people too drunk to have their attention commanded and I always end up next to them). They played every song from Teen Dream and four from other albums. As someone completely obsessed with the new album, I was ecstatic to be able to have a visual queue for every song on their new album (the music video DVD for each song that came with the album was pretty lame, so I needed a replacement). Unlike some shows, I didn’t move from one spot for the entire set. No breaks for fresh air, no beer line, no bathroom, no conversations with old friends. I didn’t want to miss a drop. My brother was right up front and grabbed some pics and we both grabbed a video (“Lover of Mine” and “Zebra”), so hopefully you can get some idea about the show, but I highly recommend you live it for yourself. Pitchfork Fest in Chicago anyone?!?!
After the show, we stuck around and I had the band sign my copy of Teen Dream for posterity. In nervous small talk, I told Victoria that I drove down from Louisville and said something about the Derby that was coming up that Saturday. Little did I know that this would prompt her to write “Drive safely please” and then draw a horse (or zebra) in honor of the Derby. Other than Titus Andronicus’ beaver drawing and explicit filled thank you, I would say this might be the most unique and strange signature I have in the collection. I’ll take it!
On a final note, I also found out that Beach House is a fan of Louisville’s Sapat!!! There was also a reference to Will Oldham, but who wouldn’t? Chalk it up ladies and gents. That one made my day.
Sunday night in Louisville was one for the history books. Put on by Motherlodge, an special “cross-pollination” of art between NYC and Louisville, this show combined talent from all corners of your imagination. It started off will Penny Arcade (NYC) who blasted-off a monologue about the Mona Lisa and her love/hate for her vagina. Her show has been described as a “cutting-edge sex and censorship show.” I can’t say it was my dish, but intriguing none the less. The parents of the Louisville Leopard Percussionists may have felt different (a lot of covered ears).
She introduced the next act with glowing praise, basically telling Louisvillians to get their shit straight and support Tyrone Cotton. I can’t agree more. He is a singer/songwriter that goes heavy on the blues but with a folk/Americana. His voice is well traveled and can scratch like sandpaper, but it adds the necessary touch to tell the story of his songs. I highly recommend checking him out next time he plays in town.
A short film was played next highlighting the cause for the evening, The Salvation Army Center of Hope Kitchen’s Culinary Training Program run by Chef Timothy Tucker (see video below in two parts). While the program is more than I can put in words, Chef Tim trains individuals down on their luck in the culinary arts and provides them with a valuable skill to improve their lives in a multitude of ways.
The Louisville Leopard Percussionists took the stage next and we all got to witness the future great musicians of our city. The LLPs (as I’ll call them), is a non-profit organization that trains 7-12 year olds on a number of different percussion instruments including the xylophone, drums, congas, bongos and more. It was energizing to see kids barely taller than their instrument just rip it up. Solos and all, they threw a wall of rhythm at the crowd and we ate it up. The LLPs finished with a “Low Rider/Oye Como Va” combo which led to a standing ovation. How would you like to have opened for My Morning Jacket and Will Oldham at the age of 12? I’m jealous.
The men of the hour, Will Oldham and Emmett Kelly (a/k/a part of The Cairo Gang), concluded the night with a powerful, 7 song performance highlighting their new album, The Wonder Show of the World. The album is classic Bonnie Billy and Kelly adds a nice compliment to mix. The Oldham/Kelly album has the capacity to raise all emotion. You’ll love, laugh, cry, stand up and shout and often at the same time. Oldham thrives on his performances and his energy bounces off the walls. It is truly something you have to see to experience. To make things even better, Oscar Lee Riley of Thomas A. Minor & The Picket Line was asked to join the duo on stage for their final song, “Go Folks Go.” Oldham offered up a dollar to anyone in the crowd who could drown out Oscar’s voice, but no one took him up on the offer (it would have been a tough go at it anyway). Bottom line… beg, borrow and steal what you have to in order to get your hands on this album (and all other BPB albums for that matter). For your health (says Steve Brule). The set-list is below.
Oh, there was a dinner afterward prepared by students in the culinary program. My compliments to the chefs! Louisville’s Bad Blood provided some tunes while everyone ate. A wonderful way to end the night. Best $15 bucks I’ve ever spent.
SET LIST
1. Kids
2. Merciless and Great
3. Troublesome Houses
4. With Cornstocks Or Among Them
5. That’s What Our Love Is
6. Someone Coming Through
7. Go Folks Go
Mayer Hawthorne played at the Zanzabar Wednesday night and to be honest, I didn’t know what to expect. I had heard his debut, A Strange Arrangement, and was blown away that a short, white, 30-something guy from Michigan can put out soulful music and draw comparisons to Curtis Mayfield, Isaac Hayes, Barry White and Smokey Robinson. I was curious to see how the album translated to a live performance because I thought there might be a chance that it would come across as unauthentic. The verdict… Hawthorne is the real deal and the show was a blast. People were shakin’ and groovin’ and just having a solid old school time. A definite crowd-pleaser. See set list below.
Nikki Jean opened seemingly sung the siren song and had everyone in the house in awe. A little R&B, a little jazz, I wanted to be in a smoke filled lounge drinking out of a highball glass. The crowd was still trickling in at this point, but man did they miss a show. She’s signed with a major label (Atlantic/Warner) and I know they have some big plans for her. She’s already collaborated with Lupe Fiasco and toured with Kanye West (remember the Glow in the Dark Tour)? Be on the lookout for her debut album later this year.
Detroit’s House Shoes was on the 1′s and 2′s (did I say that right?) between sets and really put his talent on display. Anytime you go White Stripes to Michael Jackson and it makes sense, you’ve accomplished something.
Check out our friend Damien’s review of the show here. He’s a big fan of these acts and got some video as well.
Neon Indian has put out one of my favorite albums of the year (Psychic Chasms), so I was psyched (no pun intended) to see them live. I was a little apprehensive about the show given the technical nature of their album with heavy electronic/synth infusion. Little to my surprise, Alan Palomo and Co. were still working out the kinks at their show at The Bishop in Bloomington, Indiana. First off, their set was delayed a half hour due to “technical difficulties.” Once the show started, the transitions were choppy and Palomo’s vocals were clear as day. This normally wouldn’t be a bad thing, but his vocals were supposed to be distorted. Raw and exposed, the first few songs lost their luster. The silver lining to their show was their final song (before the encore), Ephemeral Artery. Everything came together for a glimpse of how great Neon Indian can be live. It made the whole trip worth it.
Boomslang ended up being kind of a long weekend. There was so much going on and so much great music that kept me out until ridiculous hours of the night, that I was downright exhausted on Sunday. I decided to take it easy for most of the day until the last band at Buster’s which I was expecting (correctly) to be the highlight of the whole festival. That band is the irrepressible Brazilian band Os Mutantes.
Originally formed in the mid-60s by the Baptista brothers (Arnaldo and Sergio Dias), (more…)
The last time I was at the Red Mile Barn in Lexington, Kentucky was for the Elephant 6 show with Jeff Mangum. While that show is almost impossible to top, I had an amazing time at the Black Moth Super Rainbow show there on Tuesday night. I can’t tell you how many people have recommended this band to me over the past year, so I had to check them out, especially considering their new album, Eating Us, drops this month. Their sound is a soupy blend of electronic beats, synthed vocals, solid rock n’ roll, folk, pop, and plain craziness. The five person band was visually impressive as well. From the drummer decked out as a ninja to projected images of everything from puppets to ICP fans to frontman, Tobacco (a/k/a Tom Fec), sitting indian-style the whole show and singing through a vocorder, it was unlike anything I’ve seen. They have already had the benefit of opening for The Flaming Lips in 2007 and I can only imagine the success they will have after Eating Us, quite possibly one of my top albums of this year. If the crowd at the Red Mile Barn is any indication, BMSR’s continued growth is a guarantee.
I missed the openers, Bedtime and Tiny Fights, but Matt at You Ain’t No Picasso had great things to say about both bands here and here.
Bobby Long played to a sold out crowd Thursday night at 3rd and Lindsley in Nashville,TN. This was the last stop of Bobby’s short tour through America (NYC, L.A. and Nashville) before his more extensive tour this summer. Bobby was joined in Nashville by fellow Brit and friend, Sam Bradley, and these boys certainly brought down the house.
Now there are two kinds of people who may read this review: those who are rabid fans and those who have never heard of these guys. For the sake of those in the dark I will simply say that these two twenty-something, singer/song-writers from England were contributors to a soundtrack that debuted at #1 on the Billboard 200 and has remained on the list for 24 weeks, currently at #4…and female fans are going crazy.
When we arrived at the venue the line to get in (or “queue” as they call it in England) extended a good four blocks down the street; not surprising as Bobby’s shows in both NYC and L.A., and the previous nights Nashville show, had all sold out. Phil Taylor, manager extraordinaire, who discovered both Bobby and Sam at the famous “Up All Night” open mic night in London, introduced Sam to take the stage first.
Sam’s style of music is somewhat difficult to sum up. Although he doesn’t consider himself “country” there are certainly some old-style country elements to his songs, especially when heard live. On the other hand his music is also very soulful, but with a less depressed sound. In all, it is easy to see the effect that his idols such as Johnny Cash, Stevie Wonder, Ray Charles and Johnny Lee Hooker have had on his songwriting.
While I’ve always liked Sam’s music, for me there has always been something missing from it that I couldn’t put my finger on. I realized Thursday that the missing element was seeing Sam perform his songs live. Sam’s onstage demeanor can only be described as comfortable and engaging and is the key element to 100% enjoyment of his music. He brings his songs to life onstage, something that obviously isn’t as easily done online. Thankfully he has posted several videos of his songs to his YouTube and Myspace pages and I highly suggest checking those out. Hopefully with the release of his album, set to come out later this year, his music will come to life in a way the demos haven’t quite succeeded in. Regardless, Sam put on a fantastic show Thursday night.
He opened the night with what he labeled his least favorite song, “You Think You’re Free” and followed it up with a fan favorite “Whiskey”; being sure to sip the beverage on stage. (As a Kentucky girl I’m hoping it was Makers Mark!). Sam entertained the crowd with quick-witted humor noting that the guys in the crowd were messing with his mojo and questioning an audience member when she said it was practically a “sausage fest”. He explained that his next song, “Paradise” was one of the first songs he wrote and was about a girl he knew 14 years ago. He then noted that this girl was also the reason he stopped playing the song for quite a while. Another song about a girl, and Sam’s most famous song, “Too Far Gone” was clearly a crowd favorite; especially when we learned the girl who the song was written about called him earlier in the day. Truly this is one of Sam’s best songs and one of the few times I can say I like a song better the way it is performed by the writer, rather than the person who made the song famous. (I don’t feel bad saying that though, as the person who made this particular song famous has mentioned being dissatisfied with the version in the movie.)
Along with original songs, Sam played two covers, including “Give My Love to Rose” by Johnny Cash. This was probably Sam’s best song of the night, if only for his incredible Johnny Cash and Willie Nelson impersonations. Sam finished up the evening with “Soho Whores” (my personal favorite) and a song written by his mother, Lee Lindsey, entitled “Like a River.” During the song one of his guitar strings broke, but like a seasoned professional Sam kept playing and ended his performance leaving no doubt in anyone’s mind that his mother played a significant role in Sam’s musical development.
Overall, Sam’s performance lived up to my high expectations and I am looking forward to the release of his upcoming album. It should be noted that the album will feature Sam performing with a band…something I’m incredibly curious to hear.
As much as I enjoy Sam’s music and was feeling incredibly fortunate to see both Sam and Bobby on the same night, at the same venue, I was most excited about Bobby’s performance. Unlike Sam’s music, Bobby’s music has a way of reaching through the speakers and touching me immediately. Unfortunately access to Bobby’s music has been somewhat limited up until recently. Previously, the only way to listen to a variety of his songs was to go to his Myspace page or YouTube (see below). However, as a thank you to fans and to calm the demand for his music, Bobby released one song, “Left to Lie” as a single on iTunes. He also now has a “bootleg” cd of ten songs that can be purchased at his concert. I am fortunate enough to have a copy and currently have it set on repeat, although I have to admit I’m disappointed that “This Strange Love” is not included.
Bobby’s sound can be classified as somewhere between a more folky/less rootsy Ben Harper and a slightly raspier sounding Elliot Smith. His onstage presence is much more subdued than I expected and he even seemed a little “bashful” at times, but that could have just been in contrast to Sam’s more boisterous nature. If I had one criticism of Bobby’s performance it would be that he didn’t seem comfortable on stage at times. I’ve seen videos of other shows though and this hasn’t always been the case. I am just chalking this one up to the fact that this was his last show and he had to be exhausted. Regardless, what comes through above all else during Bobby’s show is the fact that he is not only an absurdly talented vocalist, but an amazing song-writer as well, drafting poetic lyrics such as, “The night it rests like a hammerblow and breaks the morning it brings. The mad men are down on the crypt floor sleeping through there favours and sins. I trained myself to be hardened and greet the bird like the day. I soared to greet lusty gamblings and drenched myself in the dusk where they lay.” (lyrics from “Being a Mockingbird”).
Bobby opened his set with “Rattle and Roll”, a song that is battling with “The Bounty of Mary Jane” as my favorite. He then entertained the crowd with a story of him trying on cowboy hats and boots earlier in the day and saying they just didn’t work. I think the image that put in his fans heads was priceless. About halfway through his set he made mention of Mississippi John Hurt and started to play a few bars of one song (I think it may have been “Richland Woman Blues”, but don’t quote me on that) and then switched agilely into his song, “Sad Woman Blues”, dedicating it to “Sarah” and noting that he was thankful she liked to talk about weird stuff as much as he does. (Note: there is a YouTube video showing Sarah, but for her sanity I will not link to it here.) He also didn’t forget about his friend Sam, thanking him for joining him and dedicating “Who Have You Been Loving” to him. He ended the night on the guitar and the harmonica playing “Dublin’s There for Me” and was genuinely surprised that people in the audience seemed to know the words; a sign that he is still unaware how dedicated his fans truly are.
After the show both Sam and Bobby greeted fans outside and from all accounts were truly gracious. I had the opportunity to speak with Bobby after the show and you can see the full interview here. What I gathered during our conversation is that Bobby is truly humble and grounded, incredibly articulate, and seems a little wary and surprised by his sudden fame. He clearly knows that he will have to continue working hard to make sure he can turn his passion into a long term career. My favorite part of speaking with him was when he mentioned going back to school and back to reality, noting that, “it’s wonderful playing, but it’s not real life…Real life is getting up every day and trying to get to work or trying to get to school.” Those are fairly profound words for a guy barely in his twenties.
I look forward to traveling back to Nashville to see Bobby during his tour-or hopefully persuading him to join us sometime in Louisville. I will also be eagerly awaiting the release of Sam’s upcoming album and remain hopeful that he will make another stop somewhere close by. Right now it is hard to deny that these guys seem to have the world at their feet.
G. Love & Special Sauce came to Louisville’s Headliner’s last Wednesday and put on a fantastic show. I have seen G. Love at Red Rocks and in Colorado Springs, but this was, by far, the best performance of his that I have seen. Headliner’s was absolutely packed, even with the balcony open. G. Love has been around for a while now, and with each new generation of college students, his fan base gets bigger and bigger. He hasn’t slowed down a step and knows how to put on a damn good show.
The Elmwood Band was on stage when I arrived and, initially, I groaned thinking “great, another Dave Matthews Band rip-off.” The more I watched and listened, however, the more they grew on me. The guys were extremely talented and I quickly was able to put the fact that they looked and sounded like DMB behind me. I was officially sold on the band after their solos in the closer.
G. Love came on stage around 10 to a roaring welcome. On top of being a talented musician, G. Love is a showman. He commands attention and quickly develops a rapport with the crowd. While I would have loved to hear “Willow Tree,” G. Love played all of the crowd favorites, including the ever popular “Baby’s Got Sauce” (G. Love’s Special Sauce was for sell at the merch table, by the way). G. Love was all over the stage, rapping, playing the harmonica/guitar, slapping hands with fans, and winning the hearts of plenty of the ladies in the crowd. He looking like he was having the time of his life, even though he had to spray some kind of medicine in his mouth after every song due to a sore throat.
Now for a question to the readers. Feel free to comment your take on it below. During the encore, G. Love played “Who’s Got the Weed” and in the middle of the song broke into Peter Tosh’s “Legalize It.” Just like Ben Harper’s “Burn One Down” as soon as “Legalize It” started, a kid behind me lit up a joint. From the smell around, he wasn’t the only one in the crowd partaking. A bouncer slashed through the crowd and grabbed this kid by the back of his shirt and drug him out the side door and probably to the cop sitting out front. I guess the question is, how should a venue handle such action? A) Pot is illegal and smoking is prohibited in the venue, so the kid got what he deserved. B) The bouncer should have told him to put it out and warned him what would happen if he got caught again. C) Nothing. Hell, the artist playing at their venue is encouraging him to partake in the herb. D) Choose your own course. I’m leaning toward (B).
G. Love finished with an extended version of “Cold Beverage,” complete with solos by each band member. The show ended a little after 11, so it was relatively short, but it packed a punch. It was a blast from the past for me, and while I’ve gotten older, G. Love’s music certainly hasn’t got old. Time to start spinning his albums more often!
Not since Iron & Wine came to town has Headliner’s been as packed as it was for Vampire Weekend’s first performance in Louisville. The crowd was considerably younger as you would expect; filled with teenage girls hoping to make eye contact with the guys from New York.
Unless you have been living under a rock, you know that Vampire Weekend has taken the world by storm, gracing the cover of every music mag, playing every late show, having their songs played in commercials and in TV shows and selling out show after show. I must admit, their sound is completely addicting and their debut album, released in January, is excellent (and sure to top Best Of 2008 lists come December). You can read my “Addicted to Vampire Weekend” post here. They played for a lucky few at the Old Tar Distillery in Lexington last November, and my how far they have come in less than a year.
An excellent group, White Williams from New York (headed by Joe Williams, opened and, I’m sure, picked up a bunch of new fans. I listened to their album Smoke, released last November, and liked it, but wasn’t blown away. After watching their live performance, I realized that they are one of those bands that must be seen live before you can really enjoy simply listening to their disc in you car. The same is true for the people they have toured with in the past; people like Dan Deacon, Greg Gillis aka Girl Talk and Battles. I couldn’t help but draw comparisons to a young James Murphy of LCD Soundsystem. WW opened with their ever popular song,”New Violence,” and had my full attention from there. Our friend Aaron Frank over at Critical Acclaim has a great interview with Joe, Matt and Cale here.
After a long break between sets, Vampire Weekend took the stage at 9:52. I wrote down the exact time they went on because I was curious how long their performance could go with only a handful of songs. The result: 46 minutes. They played every song off their only album, a B-Side (“Ladies of Cambridge”), and a new one (“White Sky”).
The crowd at Headliner’s is always interesting. On top of the young girls, there is always a crowd at Headliner’s that seem to just go because they like Headliner’s and have no clue who is playing. You could tell who these people were because they were requesting Tim McGraw covers (I am not joking). There were also some pleas for a new album, even though the just released this one in January. I guess I can’t fault people for wanting more VW though. The only boos from the audience came when frontman, Ezra Koenig, mentioned playing in Lexington before. Clearly, some were still holding on to UofL’s beating a few weeks ago.
Four songs in, there was some technical difficulties with a speaker that was cracking pretty bad. Roadies and the tech guys worked in the background through two songs before the cracking stopped. The show was not affected, but keyboardist, Rostam Batmanglij, seemed upset (I think it may have been his monitor).
I left the show pleased and uplifted, as did most of the people in attendance. As we hiked to our cars parked in what felt like an old salvage yard, it was easy to see just how far from Cape Cod we were. But with our new appreciation of how hard they have it up there, who couldn’t help but smile.
Peter Bjorn & John of Sweden came to visit Louisville, KY and brought one of the best shows this city has seen with them. Before I start my comments, I want to take a moment to stand up from my computer and applaud Production Simple for just one more in a series of amazing bands they’ve brought to this city this year. I feel the pace picking up and I’m excited to see what the future holds.
Swedish pop music is the best in the world right now, with acts like PB&J and Jens Lekman leading the charge, and bands like Pelle Carlberg, The Radio Dept., The Leslies, Suburban Kids with Biblical Names, Sahara Hotnights, [ingenting], and countless other to give the genre depth. Peter Bjorn & John being the second of these bands I’ve seen in the last few months, I can see now that these bands feel what they sing, and they bring it to the stage with them. Pop music has a certain light-hearted energy to it, and both shows I’ve seen just make you feel so happy to be alive. Jens Lekman pretended he was a plane and flew around the stage. That was cool. PB&J played with the enthusiasm of a band on its first or last show ever….it was incredible and I’ve never seen stage presence like these guys had (except maybe for Man Man). Peter was a mad man, climbing the lighting poles, falling off stage, etc.
The show started off with the song that gave me my first introduction into PB&J last year “Let’s Call the Whole Thing Off”. I love this song in the way that it reminds me of Belle & Sebastian’s “Stay Loose” not so much because of the tune itself (though to some extent it calls that song to mind), but moreover because of the complete divergence from the rest of their sound. It took me some time to warm up after first hearing “Let’s Call the Whole Thing Off” to open up to the rest of the music simply because the sound is so different, but eventually I did. Nevertheless, this got the show off well in my mind.
A few songs later was another of my favorites, sung by John, the drummer, called “Start to Melt”.
In addition to the sound itself, the crowd was one of the best Louisville crowds I’ve seen since The National at Headliners earlier this summer The number of people there alone was shocking…..the place was packed, which is why my photos below are taken from a bit further back than I would have liked. As for the crowd, the usuals were present, which is something that I love….that there are certain kids you can always expect to see. I want to be sure to give our kids credit where its due, and while many times the kids don’t dance, we were all feeding like maniacs off the energy of PB&J and they were feeding off of us….a vicious and beautiful cycle…..resulting in an incredibly energetic show. At one point at the end during “Up Against the Wall”, Peter was playing at the very end of the stage, and then nothing…..gone from sight….he was down in the crowd and everyone was jumping and singing and screaming and the energy was so high and then from nowhere….he starts playing guitar from the floor. I was blown away…I’ve never seen anything like that. I’ve seen loads of singers jump down with their mic and sing into the crowd. I’m going to see Dan Deacon and Girl Talk play ground level, but seeing Peter fall and keep playing blew my mind. This is of course in despite of the fact that at one point during the show, Bjorn noted that Peter was sick with a cold (I think), but the lovely Noelle heard from the noon-time “Live Lunch” show held by WFPK that Peter was actually just really hung over. Whatever it was, we couldn’t see it as they played like champions.
During the middle of the show, the most amazing sequence of songs were played in a succession starting with Amsterdam. The crowd went crazy on this one because its such a great dance song…probably one of the only true dance songs they’ve got. Next up was my personal favorite, Paris 2004. I don’t have the words to describe how I feel about this song, but something about it just resonates with me, I guess. The opening sequence to this song just makes me feel like I can do anything and makes me miss my days in London. Not to mention the vision of love you have to get in your head of a young and new love with the line I’m all about you, you’re all about me, we’re about each other. The next song was indie chart topper, “Young Folks,” perhaps more easily recognized as “The Whistle Song” heard in seemingly every television show and commercial on TV. Initially, I was shocked because I truly believed that they were actually doing the whistling….Peter put up a good front until he forgot to act the part while the whistle track relentlessly played on. I was only disappointed because I’d believed they were actually whistling. The last of the sequence of note kept with the Concretes theme and is another one of my favorites, “Teen Love”, which was massively botched by Peter forgetting the lyrics, and so the band stopped & restarted. While it was massively botched, I actually enjoy when artists mess up like that (the Dylan performance of “I don’t believe you” from Halloween 196_ comes to mind), because it shows the artists are fallible and human and could be your own friends.
The first set concluded with “Objects of my Affection” which is yet another song I absolutely love, which brings me to my next point….they played everything I wanted to hear. So much so that when they were set to come out for the encore I wondered what they could do to top their initial set. As far as I was concerned, they hadn’t saved anything for it. Later I realized there were a few I love they skipped including “Tailormade”, “Poor Cow” and “All those Expectations.”
But the show they put on for the Encore was so energetic that I’m still hyped from the show nearly 24 hours later. If you missed this show…..I’m sorry.
