Lollapalooza Day One

I was dreading Lollapalooza in some ways – worrying about the heat, fretting about what sort of access I would have to the photo pits, thinking about all of that walking. As it turned out (for Friday at least), I had quite a fun time and no problems to speak of. So far, so good with this year’s festival. It is indeed a long walk from one end of the park to the other – leave a good 15 minutes in your schedule if you need to make that trek, which will undoubtedly mean missing some music – but somehow, it seemed to go faster than it did last year. It is strange to see the swarms of people walking in both directions around Buckingham Fountain, all heading to see one band or another.

I felt similar to the way I did at the recent Pitchfork festival – a little too peripatetic for my own good. Rushing all over to catch as many bands as I could, both to get photos and because I wanted to hear all that music. It was nice when I could settle down and just listen to an entire set by a band, as I did with the Black Keys. Was there a breakout band on Day 1, someone that excited the crowd more than anyone else? That’s always such a tough thing to judge. Most of the performers had an enthusiastic bunch of people up front, but then as you walked farther back, you found yourself surrounded by people who were lazily enjoying the Grant Park setting, treating the whole thing like a picnic and (seemingly) not paying that much attention to the music. Or enjoying it in a way that was a little more passive.

Based on what I could see, POLYPHONIC SPREE generated a fair amount of excitement with its big spectacle of a show. It was not as outlandish as last year’s extravaganza of a show by the Flaming Lips, but there was a similar spirit of putting on a performance that was both big in size and freewheeling in spirit (freewheeling mostly in the form of frontman Tim DeLaughner). I’m of two minds about Polyphonic Spree: I find their concerts incredibly fun, but I’ve never found their records nearly as compelling. Maybe I need to see it as well as hear it to get the whole feeling. The last time I saw the Spree, they were still wearing those white robes. They’ve switched to dark uniforms, which makes them look less like a cult and more like a USO troupe or something.

The first band I saw on Friday was THE FRATELLIS, who played a fairly spirited set. Maybe not as spirited as they would have been later in the day. One of them remarked, “We’ll wake up by the end of the set.” Funny, they sounded awake to me.

I headed to south end of the same field for the next show, which was Austin’s GHOSTLAND OBSERVATORY. Never heard a note before. Well, maybe I did, but I couldn’t recall hearing anything by them until now. I suppose this would be categorized as electronic, though the duo did play some guitar and actual drums. Dance music, in any case, and it seemed pretty creative and lively to me. The drummer/electronics dude was dressed like Count Chocula. The other guy had a ponytail and very tight clothes and he jumped around a lot.

TED LEO AND THE PHARMACISTS played next (well, they were the band that I saw next, forgoing a show at the other end of the park by Son Volt). You can count on Leo to put on a strong show, and he did once again. He also sings with such force and passion.

I caught a couple of songs by VIVA VOCE, an excellent wife-on-guitar/husband-on-drums duo from Portland, Ore., whom I saw opening several months ago for the Shins. The songs I saw were catchy as well as energetic. Then I headed north for the aforementioned POLYPHONIC SPREE.

I stopped by one of the smaller stages, the BMI stage, for POWERSPACE, a young suburban Chicago pop-punk band, who were pretty impressive. These kids have their sound down pat, and they also know how to look like they’re having a ton of fun onstage.

I had just seen SPARKLEHORSE the previous night at the Empty Bottle, so I was planning to skip their Lollapalooza set. However, it was just too tempting to get some photos of Sparklehorse in actual light, so I headed over to the stage for a couple of songs. It was a decent performance, like the one the night before, though Sparklehorse main man Mark Linkous seemed a little distracted at both shows. He’s a very good songwriter, and most of those songs come off pretty well in concert, but he is not the most exciting performer. I tried zipping over to the nearby PlayStation stage to get some photos of ELECTRIC SIX, but I showed up just as the band was finishing its third song, the point at which the security guys say vamoose to those of in the photo pit. I wasn’t too thrilled with the Electric Six music I was hearing, so I rezipped back over to Sparklehorse and enjoyed the rest of that concert. Where I was standing (halfway up that paved area at the Petrillo bandshell), the crowd seemed a little apathetic.

At the far north end of the park, M.I.A. was next on the lineup. I’ve never really seen her, other than about one song at SXSW two years ago and I suppose that doesn’t count. The knock on her has been that the live show didn’t live up to the record. I don’t know. It sounded quite good yesterday, I thought. I like the uniquely Indian beats and patterns of her hip-hop. And heck, she was fun to photograph. As I left after the third song, I did notice that she was having some sort of technical difficulties. Or was that just a lull in the show? M.I.A. made some remark about an aborted beat, saying it would sound better in a club. Hmmm.

SILVERSUN PICKUPS was playing on one of the smaller stages, and I caught a few songs, complete with gymnastic guitar solos, but then I headed over to see BLONDE REDHEAD. This is a band I like but don’t (yet) love. Enough of my friends rave about them that I feel like I may end up loving them eventually, after I listen more to their music. They did sound great last night. On the surface, their new album 23 strikes me as indie pop with an electronic sheen, but in concert, they emphasize the shoegazer intensity of the music.

THE BLACK KEYS were one of my favorite performers all day. I can’t say they did anything I haven’t heard them before, but they’re such monsters of the guitar and drums. I love the loopy, curling sound of those bluesy riffs. I didn’t have anywhere else to zoom for a while, so I was able to sit down and actually listen for a change. Ahhhh.

The next time slot offered a difficult choice, between LCD Soundsystem and FEMI KUTI & THE POSITIVE FORCE. I went with Kuti. I love his father’s music, and I recently saw his brother, Seun, play at Millennium Park. This seemed like an opportunity I couldn’t miss, while I figured I can always see LCD Soundsystem again. Kuti got the crowd dancing with his band’s infectious grooves, not to mention the dancing girls onstage. It occurred to me that it was too bad Kuti couldn’t play to the same folks watching that other dance band on the other side of Buckingham Fountain (LCD, that is).

Speaking of which, I rushed south past the fountain (passing a very, very squashed rat on the pavement, which was just lying there like a pancake as thousands of people walked by)… hoping to catch a little bit of LCD Soundsystem. I heard their music as I went passed, but by this time I had to hurry to get a spot in line to photograph DAFT PUNK. I was photographer no. 46 out of the 50 allowed in the pit. Phew! But then… well, I can’t say I’ve ever been a Daft Punk fan. When LCD Soundsystem (an electronic dance band I actually like, which does music more to my speed) dropped their name in a song (“Daft Punk is Playing at My House”), I thought I really should take a remedial course in what this band is all about. Well, I’m still not getting it. I guess I’m just allergic to certain (but not all) forms of techno. A black curtain on the big stage fell away to reveal the two Daft Punk dudes in their standard robot helmets, way up at the top of a pyramid (the part were the eye would be in that dollar-bill picture)… doing whatever it was they were doing. For all I could tell, they were just playing one of their CDs. The crowd (or at least the crowd in front) was having fun, moving and clapping to the music. But… eh. Such simplistic beats and melodies just don’t do much for me. The light show and stage were cool, but they were also pretty cold. Maybe it was cold in an ironic way – “Hey, look at us, we’re robots!” – but it was boring either way.

See my photos of the Fratellis, Ghostland Observatory, Ted Leo and the Pharmacists, Viva Voce, Polyphonic Spree, Powerspace and Sparklehorse.

See my photos of M.I.A., Silversun Pickups, Blonde Redhead, the Black Keys, Femi Kuti and Daft Punk.

Two Cow Garage

For several years now, Two Cow Garage has seemed like the little band that could. Just some guys from Columbus, Ohio, who tour like hell and play loud, garage-y alt-country rock with a lot of passion. They have some loyal fans, but they’ve yet to really break through to a big audience.

They arrived at Chicago’s Subterranean last night (Aug. 1) with the groan-inducing news that their drummer, Dustin Harigle, had quit earlier in the day, just as Two Cow was embarking on a tour for its new record, III. Faced with the prospect of playing without a drummer, the rest of the band considering calling off the shows, but decided to go through with it anyway. And so, we unexpectedly saw what amounted to an unplugged Two Cow concert.

The evening was charged with emotion, as guitarist Micah Schnabel and bassist Shane Sweeney openly voiced their frustration and bitterness about Harigle’s decision, as well as their determination to carry on as Two Cow no matter what. They made it clear that they love doing what they’re doing, and that they’re in it for the long haul. Backed by a keyboardist, their songs actually sounded quite good in this stripped-down setting. It wasn’t the rock show that the audience had been expecting or that the guys probably wanted to play, but it was a cathartic way to announce that Two Cow survives.

See my photos of Two Cow Garage.

…There were a couple of opening bands. I’ll just say, the less said, the better.

Bat For Lashes at Schubas

I’ve been a big fan of Bat For Lashes (aka Natasha Khan) since I heard her debut album, Fur and Gold, last year as an import from the UK. In fact, I put it on my top 10 list for 2006. The record’s finally coming out this week in the U.S., and Khan and her band came to Chicago for the first time, playing Friday night (July 27) at Schubas. It was an excellent show, similar to the Bat For Lashes concert I saw in March at SXSW. It’s wonderful to watch Khan and her three musicians (all female, all wearing headbands and similar accoutrements) switching instruments and creating these spooky songs with violin, autoharp, a harpischord sound on the Yamaha, bells and drums. No drum kit, though. Despite the lack of standard rock percussion, the songs never drag. Khan has a great voice, and she’s beautiful, too. Her encore was a new song called “Moon + Moon” (or something like that – that’s how it was punctuated on the set list). For someone whose songs are so moody and dramatic, Khan was suprisingly lighthearted and giggly in between songs. The only flaw in the show was that it only lasted about an hour – but since she has just one album out so far, I guess that’s to be expected.

See my photos of Bat For Lashes.

Chicago’s Garbadine played a nice opening set of chilled-out, low-key songs that reminded me of the quieter moments of Magnolia Electric Co. and Palliard. I enjoyed it, though Garbadine could stand a little more variety in its music. My photos of Garbadine will be coming later…

Grinderman at Metro

What is Grinderman? It’s really just Nick Cave playing with a smaller unit from his usual big group, the Bad Seeds. I loved the apocalyptically huge sound of Cave’s most recent Bad Seeds double album, Abbatoir Blues/The Lyre of Orpheus, which came complete with a gospel choir. But there’s also something to be said for pounding out rock songs with a just a few musicians. That what Cave does on Grinderman, a strong record that ranks with his best work. There are a few mellower moments on the album (mellow in a way that’s still pretty intense), but the overriding sound is driving rock, with Cave playing more electric guitar than he has in the past and singing with unbridled emotion. He finds an original way of expressing the classic rock-song premise of frustrated lust with one of 2007’s best songs, “No Pussy Blues.”

Chicago was lucky enough to get one of just four Grinderman concerts scheduled in the U.S. (one is opening for the White Stripes at Madison Square Garden in New York, and the other two are in San Francisco). It was exciting to see Cave in a club like Metro.

Cave always performs like he means it, and the show last night (July 25) was no exception. Sporting a modified-Fu Manchu-style mustache, Cave kicked his legs at the crowd, gestured with his arms like a mad preacher and wielded his guitar like a prop — grabbing it at key moments for loud bursts of notes. The rather hirsute Warren Ellis made lots of noise, too, with a peculiar miniature electric guitar, a violin and shakers, while bassist Martyn Casey and drummer Jim Sclavunos kept the rhythms tense all night. At some points, Cave added little purrs, moans and other vocal tics to his singing, making the songs seem almost like spontaneous creations rather than well-rehearsed compositions.

After playing the entire Grinderman album (though not in order), Cave and his cohorts left the stage, then came back for two encores of Bad Seeds tunes, with Cave sitting down at the piano for the first time all night. The first encore was “Red Right Hand,” “The Weeping Song,” “Deanna” and “The Lyre of Orpheus.” The second encore was “The Ship Song” and “Jack the Ripper.” Some of the audience requests for other Bad Seeds songs caused Cave to protest that he did not have enough musicians present to pull off the bigger-sounding numbers. And in fact, the Bad Seeds that he did play seemed fairly stripped down, with an impromptu looseness. That didn’t detract at all from how great they were, though. This was surely one of the year’s best concerts in Chicago. (I’ve said that a few times recently, but I think the shows by Grinderman, the Wrens, the Arcade Fire and the Decemberists are near the top of my list right now.) Cave departed with a promise. “See you next year with the Bad Seeds,” he said. I can’t wait.

See my photos of Grinderman. My photos will also be featured on Spin magazine’s web site.
The opening band was Digital Primitives, which is a ridiculous name for a fairly good jazz trio. It was an odd choice for an opening act, but I like the group’s mix of jazz, Eastern music and spoken-word rants.

Finally, an album by The 1900s

I’ve been looking forward to an album by The 1900s for a couple of years now, ever since they released their delightful EP Plume Delivery on the Parasol label. It’s tuneful ’60s-influenced rock with co-ed vocals and some orchestral pop flourishes. They’re also great fun as a live band. Parasol, a fine label based in good, old Champaign, Illinois, has just announced it will be releasing The 1900s’ first full-length album, Cold & Kind, this fall. Three tracks (one in mp3 format, two in wma format) are posted at the Parasol web page.

Besnard Lakes and Handsome Furs

Somehow, even though I saw just about every other band on the Secretly Canadian/Jagjaguwar labels when I was at SXSW this year, I missed one of the groups from the family that I really wanted to see, the Besnard Lakes, who have a superb album out this year with the peculiar title The Besnard Lakes Are the Dark Horse. (Or is the album just called Are the Dark Horse? That sort of thing is always confusing…) I also missed this Montreal band on an earlier stop in Chicago, but I made up for that last night (July 23) by catching the Besnard Lakes at Schubas.

The band’s male/female vocals and lilting melodies remind me of Low – but Low in its livelier moments. There’s a similar tripped-out quality to the songs, but they also know how to rock out, specializing in repetitive guitar grooves. It was a very good show, making the songs sound even better than they do on the record. I was unaware of an earlier Besnard Lakes album titled Volume 1, from which they played a song or two. I picked up a copy at the merch table and I’m listening to it right now for the first time. The songs seem a little hazier and less distinct than those on the new CD, but I’m still liking it. The Besnard Lakes also have the distinction of being, I believe, the first band I’ve ever seen that used a fog machine at Schubas. It set the mood perfectly. See my photos of the Besnard Lakes.

I also wanted to be at Schubas Monday night to see one of the opening bands, Handsome Furs, who are also from Montreal. I think I’d only heard one song by the group, a guitar/electronics duo featuring Dan Boeckner of Wolf Parade and Alexei Perry. I’d been hearing some buzz about these guys as a new band to watch out for. I enjoyed their set quite a bit. Although Perry’s role is basically standing at a wee keyboard and another electronics device or two while Boeckner plays guitar and sings, she was pretty lively in her largely stationary role, creating a decent rhythm section. Boeckner played some sharp, spiky guitar parts. I liked it enough to buy their album Plague Park at the merch table. See my photos of Handsome Furs.

The first act of the night was Scottish singer-songwriter Chris Connelly. I have to say that his vibrato-heavy singing style and his heavy acoustic-guitar strumming were not really to my taste, though I think some of his songs might interest me more in their studio incarnations, if they’re produced with some creativity. I have to give him credit for doing a solo a cappella song, which takes guts. See my photos of Chris Connelly.

Eleventh Dream Day et al

Eleventh Dream Day shows up at least once or twice a year for a show somewhere in Chicago. They had a great record last year, Zeroes and Ones. This time around (July 20 at the Empty Bottle), there was no new record to promote, but the band was still in fine form. And it was the biggest lineup of Eleventh Dream Day ever. I’ve been more than satisfied with the group’s shows as a trio, though having a keyboard player or a second guitarist does give Rick Rizzo a little more freedom with his soloing. For this show, regular keyboardist Mark Greenberg was there, as well as former EDD guitarist Chris Brokaw. Brokaw’s presence was especially welcome on some of the early songs.

Here’s Rizzo’s set list. I see it includes little reminders of the song lyrics…

Someone (Rizzo, I think) remarked that Doug McCombs had seen the ZZ Top concert the night before, calling it the best musical performance he’d seen in his life, and McCombs picked up a few ZZ Top moves for his switch to guitar during the encore, with Greenberg taking over on bass.

See my photos of Eleventh Dream Day.

The first opening band was Faceless Werewolves from Austin, Texas. They were pretty enjoyable. I detected a little bit of bluesy roots music within their garage/indie-guitar-rock sound. See my photos of Faceless Werewolves. The second band was The Means, who were all right. I have to admit I was biding my time at that point, waiting for Eleventh Dream Day to play. See my photos of The Means.

Decemberists at Millennium Park


I arrived at this free concert July 18 a little too close to the starting time, and saw multitudes of people already sitting in the Pritzker Pavilion seats and out on the lawn. What a crowd. You had the Grant Park Orchestra regulars (including subscribers who got first dibs on the seats), plus a ton of indie-rock kids, teenagers and twentysomethings, and a whole range of other people. I could feel the excitement in the air. This seemed like a reallly cool event. Despite all of the critical buzz and a fan base big enough to fill theaters like the Riv, the Decemberists are not exactly superstars of the sort that you’d expect to pack a major downtown park. Or to play with a full orchestra. How great is it that all of these elements came together for an evening of fabulous music in a beautiful Chicago park? Anyway, I thought I was going to be stuck watching the concert from a position far back, without any chance of getting photos, but I lucked out when I got into the line for standby seats, and ended up snagging a seat in the second row close to the center of the stage. (It helps sometimes when you’re by yourself.) And so I was able to see and hear the music up close, grab a lot of photos and then get even better pictures at the end when the crowd surged into the space in front of the seats.

I’m a Decemberists fan but not a fanatic, but I have to say this concert was one of the best I’ve seen this year, an all-around triumph. The marriage of rock music with classical strings doesn’t always work, but the Decemberists’ ornate songs lended themselves really well to the format, and in those moments when the violins, violas, cellos and woodwinds surged up behind the rock band, it was utterly magnificent. Wow. The performance included the major songs from The Crane Wife plus older song such as “The Infanta,” “I Was Meant for the Stage, “Los Angeles, I’m Yours” and the entirety of the suite from the 2004 Ep The Tain. Colin Meloy was pretty lively for a guy singing in front of an orchestra, including one run into the audience. For its final encore songs (sans orchestra) the band engaged in a little bit of performance art as it acted out and played “The Mariner’s Revenge Song” from Picaresque, much to the delight of the Decemberists fans who gathered in front of the stage to raise their hands and sway back and forth.

SEE MY PHOTOS OF THE DECEMBERISTS WITH THE GRANT PARK ORCHESTRA.

Pitchfork Day Three

On Sunday, Pitchfork started the day with yet another band that might seem more apt at midnight, DEERHUNTER. (Emcee Tim Tuten called them Deerhoof, but as he noted later, he was just joking; he did know which band was which.) They took the stage to a wall of droning noise. Eventually, some psychedelic emerged out of the racket, quite compelling stuff. (Some of the noise was deliberate, but this was also one of several shows on the Connector Stage on Sunday that were nearly drowned by seemingly implacable feedback problems.) The lead singer of Deerhunter, Bradford Cox, is one strange-looking front man. I feel a little bad pointing that out, since a disease is the cause of his extremely thin physique (according to allmusic, “the exceedingly skinny 6’4″ lead singer has Marfan syndrome, a genetic disorder of the connective tissue that gives him abnormally long and spindly limbs”), but Cox emphasized his own strangeness by wearing a gauzy dress. He also dangled little puppets of some sort from one of his hands during the first song. SEE MY PHOTOS OF DEERHUNTER.

I’ve been a fan of THE PONYS for a few years now, thinking that these Chicago guys deserve wider fame and success. I have to admit I haven’t listened that much to their most recent record. It didn’t grab me like the first two, not that it’s bad or anything. The new songs and old tunes sounded strong in their Pitchfork set. Or at least they would have if the sound had been properly functional. It was frustrating to see the Ponys playing their instruments even as the notes they were playing mysteriously went in and out. SEE MY PHOTOS OF THE PONYS.

MENOMENA’s recent album Friend and Foe is an interesting and hard-to-categorize blend of piano, guitar, sax, strong drumming and even stronger singing. I don’t really know what genre this band belongs in, if any; it’s indie-rock with one foot in piano-based songwriting but a sound that’s far removed from typical piano music. Whatever it is, it sounded great onstage at Pitchfork, one of the festival’s best performances. SEE MY PHOTOS OF MENOMENA.

JUNIOR BOYS is an act I was unfamiliar with. The electronic pop music sounded fairly pleasant, but it didn’t leave much of an impression on me. SEE MY PHOTOS OF JUNIOR BOYS. I missed the second half of the Junior Boys set while catching some of NOMO over on the Balance Stage. Nomo plays Afrobeat music in the tradition of Fela Kuti, and they opened with an enchanting mix of bells and horns. SEE MY PHOTOS OF NOMO.

THE SEA AND CAKE were victims of more feedback problems. Their delicate jazz-pop tunes really needed the sort of audio clarity that the Pitchfork sound system was woefully inadequate to provide. Still, after a few songs, the sound snafus grew less noticeable, and Sam Prekop’s smart songs and Archer Prewitt’s sharply played guitar lines came through. SEE MY PHOTOS OF THE SEA AND CAKE.

JAMIE LIDELL wore a crown of tinsel (or something resembling tinsel) and belted out his songs in a soulful voice, creating a sonic mix that straddled the line between pop and experimental electronica. SEE MY PHOTOS OF JAMIE LIDELL.

STEPHEN MALKMUS noted that this was only his third solo concert ever, and I happen to have seen one of the other two, when he opened last year for the New Pornographers and My Morning Jacket at Northwestern University’s Patten Gym. He sounded more confident and sure this time. Although his solo and Pavement songs seem designed to be played by bands, they come across really well as quirky solo songs. Malkmus experienced more of the feedback problems that had plagued other bands at Pitchfork, remarking at one point: “It’s a weird mix, but it’s kind of cool. It sounds like ‘Sister Ray.’” SEE MY PHOTOS OF STEPHEN MALKMUS.

Is it OK if I’m not a big OF MONTREAL fan? I can see they’re a beloved band these days in the indie-rock world. And I don’t dislike them, but I just can’t get that excited about their music. The electronic production smoothes out the parts that I might interesting in another setting, I think. Anyway, they are definitely an interesting visual spectacle, and were fairly fun to watch. (We photographers were allowed to shoot only the first three songs, the standard rule throughout the festival, so I didn’t get any shots of Kevin Barnes later in the concert, when he was wearing considerably less clothing. Sorry.) SEE MY PHOTOS OF OF MONTREAL.

THE NEW PORNOGRAPHERS sounded as excellent as they always do. They’re more excellent when Neko Case is singing with them, and unfortunately, she was a no-show for this gig (as was Dan Bejar), but you know, keyboardist Kathryn Calder sounded pretty darn good on vocals. Besides, despite being a sort of supergroup, this is mostly Carl Newman’s show. The audience at the front was singing along to every word of the old songs. One of the songs from the forthcoming album Challengers briefly morphed into Queen’s “We Will Rock You.” The concert was a nonstop hit parade, with one great hook after another. SEE MY PHOTOS OF NEW PORNOGRAPHERS.

DE LA SOUL closed out the festival on the Aluminum Stage. Now, I listened to the De La Soul album 3 Feet High and Rising years – decades – ago, but I can’t say I’ve stayed up on these guys. They put on an entertaining show, though. I cut out of it for a little bit to catch KLAXONS on the Balance Stage, who had the crowd dancing and singing along to catchy “oooh”-filled choruses. A lot of fun. Back to De La Soul, I catch one of the rappers asking the audience how many “hip-hop heads” were present. He defined the people he was looking for. “We’re talking about people who don’t need radio or TV to tell them what good shit is.” That’s as good a definition as I heard all weekend of the crowd at Pitchfork. SEE MY PHOTOS OF DE LA SOUL.

FOR AN OVERVIEW OF ALL MY PITCHFORK PHOTOS, GO TO THE PHOTO GALLERY INDEX.

Pitchfork Day Two

Pitchfork’s second day started bright and early with THE TWILIGHT SAD, a fine band out of Glasgow that I saw recently at Subterranean. I’ve had a chance since then to listen a little bad to their debut, Fourteen Autumns & Fifteen Winters, and it’s an enjoyable listen. Maybe I’m a sucker for a Scottish accent, but things sound better with a burr. Their show at Pitchfork was fairly fun, though it did feel like their music would be more appropriate for a dark room late at night than a sunlit stage at 1 P.M. (A common problem at these fests but, hey, at least it’s easier to photograph these bands in actual light… Speaking of which, my photos from the first half of Saturday afternoon mysteriously disappeared when I thought I’d transferred them onto my computer. Oh, well…)

CALIFONE followed, with the sort of low-key yet involving set that’s typical for this Chicago band. I know some people love their records, but I’ve always found them better in concert. More of the groovy vibes that are hidden between the grooves of the records come through. (I also caught just a few minutes of KEN VANDERMARK’S POWERHOUSE SOUND on the side stage… not enough to offer a critical judgment other than noting that Vandermark was blowing his sax with gale force for the little bit that I saw.)

VOXTROT put on quite an entertaining set, replete with lots of rock-star posing and leaping. They didn’t dress like glam rockers, but I picked up something glam in their sound.

GRIZZLY BEAR is growing on me. I’ve seen them open for Feist and TV on the Radio; at Pitchfork, the band offered more of its subtle and mostly quiet music. It’s quiet, but it occasionally soars into more anthemic territory. The set was slightly marred by some sound problems, forcing a delay between songs – just one of many technical difficulties at Pitchfork. For the most part, the good music cut through the feedback and sonic murk this weekend, but it was disappointing that so many sets ran into sound problems.

I ran over to the side stage and caught a few songs by BEACH HOUSE, whom I saw recently at Subterranean. Pretty and chill music. Do I hear a little Nico?

BATTLES is winning a lot of praise for its virtuosic, intricate and highly percussive rock. They seem almost like an instrumental band, because the songs that do have vocals feature heavily processed singing. Personally, I find those cartoon-character vocals a little annoying. It would be OK on one or two songs, but after that, it becomes a gimmick. Battles was fairly impressive as a live act (despite a long lull due to more technical difficulties), but I’d like to see them either go with real vocals or none at all. I liked the weird setup for the drummer, with one cymbal high above his head. I’m not sure what the point was, other than creating a strange look, but it was interesting. SEE MY PHOTOS OF BATTLES.

IRON & WINE is another band I haven’t totally fallen for, despite the adoration they (or he?) receive elsewhere. I do like Iron & Wine’s studio music in small doses, and when Sam Beam recruits a good band to play behind him (as he did with Calexico), the results can be an improvement over the super soft studio tracks. For this show, he had a group of Chicago musicians backing him, including ex-Wilco member LeRoy Bach on keyboards, giving the music more of a roots-rock feel. At moments, it almost rocked. SEE MY PHOTOS OF IRON & WINE.

MASTODON is not exactly my kind of music. I can’t profess to listening to much metal, even the newer and more critically respected variations of metal. But these guys rocked like hell and were fun to photograph. For headbangers and their ilk, I’m sure the Mastodon set was a highlight of Pitchfork. A cloud of dust got kicked up from the ballfield near the stage, creating an appropriately hellacious visual effect in the middle of the show. SEE MY PHOTOS OF MASTODON.

OXFORD COLLAPSE is an excellent band from New York on the Sub Pop label, putting across indie-pop songs with a vocal intensity that reminds me of groups such as Wolf Parade and Modest Mouse. They do it all with just three musicians, and they were an enthusiastic and fun bunch onstage. SEE MY PHOTOS OF OXFROD COLLAPSE.

CLIPSE got a lot of plaudits last year for the hip-hop duo’s record Hell Hath No Fury. To a neophyte such as myself, the raps were not too appealing and the words were only intermittently intelligible in the mix. Late in the set, one of the Clipse dudes proclaimed that they’d made the album of the year (or was that “motherfucking album of the year”? I can’t recall exactly where he interjected that ubiquitous four-syllable swear word as a modifier), not matter what anyone else thinks. SEE MY PHOTOS OF CLIPSE.

(Around this time was when Dan Deacon prompted some havoc over at the small Balance Stage, with lots of crowd surfing and crowding. When the fence separating the audience from Ogden Avenue looked like it might topple, the fest’s crew shut down the performance early. I missed all of that, but heard about it all weekend.)

CAT POWER’s show Saturday night show with her new backup band, Dirty Delta Blues was one of the highlights of the festival for me. As the group’s name suggests, it was a bluesy set, with organ and guitar licks giving Cat Power’s music a sound akin to 1960s British-invasion blues rock. Although Cat Power (aka Chan Marshall) apologized a few times, apparently unhappy with the sound or her vocals, her voice was in fine form. In addition to her own tunes, she played covers such as “Satisfaction” and “The Dark Side of the Street.” Sticking to lead vocals without playing guitar or piano, she kept the show on track, unlike some of her erratic concerts of the past. SEE MY PHOTOS OF CAT POWER.

None other than YOKO ONO was the headliner Saturday night. She’s revered by many but also frequently mocked for her music. I think she was just too different from the Beatles for pop music fans to understand. By including her in the festival, the Pitchfork folks made the case that she was a big influence on many of today’s cutting-edge rockers. She preceded her appearance with a overly long video emphasizing a message of peace. She opened with a simple little song she said she’d just written, before launching into the wild sort of screaming that she’s known for. A good portion of the audience headed for the exits. That’s not too surprising, I guess; she’s never had real mainstream appeal, and even the sort of people who turn out for an event like Pitchfork don’t necessarily like this kind of music. Myself, I liked some moments of it quite a bit. At other times, it was grating. It’s hard to define why some caterwauling is good and some isn’t, but that is the case, as far as I’m concerned. Thurston Moore of Sonic Youth joined Ono for a sort of duet – a duet, that is, between his abrasive guitar soloing and her abrasive banshee yells. SEE MY PHOTOS OF YOKO ONO.

Pitchfork Day One

It was perfect weather last night (July 13) for the first day of the Pitchfork Music Festival. This was the extra day, presented with help from the All Tomorrow’s Parties folks in the UK, with three artists playing albums in their entirety. I like that concept – it runs so counter to the iPod shuffle mentality of today. As you might guess, I’m one of those people who still spends a lot of time listening to albums in their entirety. (Not that I don’t like a good shuffle.)

Slint got things started with a performance of Spiderland. I missed this band entirely when they were around the first time, and now they’ve viewed as influential in retrospect. It’s a good record, and the performance was decent – lots of precise and, yes, spidery guitar lines. The band is pretty staid, though, just standing there (or sitting there) as they play, and the crowd was just standing in place, too. That’s not necessarily a bad thing. Not every band has to jump around. But it does subtract a little from the potential for an exciting concert. The songs did build to louder peaks, and at some moments, all that mannered playing did build into something majestic. See my photos of Slint.

Next, GZA (aka Genius) performed Liquid Swords. The concept of playing an old album from beginning to end is especially novel when it comes to hip-hop artists. GZA noted that he made a trip from Europe just to do this concert and was missing a Wu Tang show in Amsterdam as a result. He and his co-rappers frequently exhorted the crowd to clap louder – “You’d better represent!” – and there were plentiful “Wu Tang!” chants and casual uses of the M.F. word… It was a pretty energentic and lively set. As I’ve mentioned here before, I’m not a huge hip-hop fan, so this set was less meaningful to me than the other two shows on Friday, but it was an enjoyable showcase for a noteworthy hip-hop record. See my photos of GZA.

The highlight for me, of course, was seeing Sonic Youth do Daydream Nation. What can I say? It’s a great double album that has become a classic, and I’ve liked it for a long time. I’ve seen Sonic Youth several times over the years, so I imagine I’ve heard some of the key tracks from Daydream Nation performed live a few times, but nothing like this. Sonic Youth did what they do best, making great noise but also great songs, all in that singular musical vocabulary they’ve developed. For a bunch of middle-aged rockers, they still show a high level of intensity and energy onstage. As they came back for an encore, Thurston Moore said, “Welcome back to the 21st century,” and Sonic Youth proceeded to play three tracks off the 2006 record Rather Ripped (“Incinerate,” “Reena” and “Jams Run Free”), which is one of the best records they’ve done in recent years. The record shows Sonic Youth sounding tighter than ever, and that came across in concert, with Kim Gordon setting down the bass and pogoing with abandon on the last two songs. See my photos of Sonic Youth.

American Music Festival

The American Music Festival at FitzGerald’s is often the best fest going anywhere in the Chicago area over the Fourth of July week. Not as big as things such as Taste of Chicago, of course, but the musical selection tends to trump everything else. Don’t expect much that’s cutting-edge, but for a broad range of the music that makes up the American spectrum, it’s always enjoyable. I missed the first three days of the fest this year, but I got to the final night (July 3).

Jon Dee Graham was in an especially talkative mood during his set. That can be a bad thing with some musicians, but Graham was funny and wise with his stories, and his music sounded strong, too, with some searing guitar solos. Incidentally, near the end of the set, when he was taking requests, someone yelled out “Aqualung!” and he said it was a creative alternative to yelling “Free Bird!” How strange – for a while I had been promoting the very idea of substituting “Aqualung” as the song title to yell out when you want to make a stupid request at a concert. I’m thinking, however, that “Radar Love” may be the better choice. Depends on the band, I guess.

Out in the tent, Robbie Fulks was in full-on shtick mode. I missed the first half of his concert and enjoyed what I did see, and I do like his sense of humor, but sometimes he needs to rein it in a little bit. I caught a little bit of Jeff and Vida in the Sidebar, doing some pleasant folk/country songs, and then I saw Tributosaurus in the tent transforming itself into The Band. (It’s odd that I’ve seen Tributosaurus, a band that pays tribute to a different group each month, and two of the three shows were Band tributes. The other was The Replacements.) They did a good job of capturing the rollicking fun and the grandeur of those old Band tunes.

Ian McLagan and The Bump Band closed out the festival inside the club. For a guy who’s known almost strictly as a keyboard player, McLagan actually sings pretty darn well, in a hoarse voice reminiscent of his old Faces bandmates Rod Stewart and Ronnie Lane. The old Faces tunes sounded great and McLagan’s solo music sounded pretty good, too. It was a nice way to cap off the night.

See my photos from the American Music Festival.

Fugue State

The Fugue State festival, June 29 and 30 at the Empty Bottle, was two days of bands playing what is often called “drone music.” It was also billed as a festival of “expansive music.” Whatever you call it, these are musical acts that stretch out notes way past the duration you normally hear. Some of it is loud guitar feedback, some of it more like acoustic freak folk or Eastern music or minimalism. Given the seemingly narrow confines of the genre (if it really is a “genre”), it’s actually a fairly diverse field of music. Not for all tastes, of course.

These two days offered a stimulating sample of what’s going on with drone music, especially in the Chicago scene. Highlights included the looping guitars of The Number None, Estesombelo’s masterfully constructed glaciers of notes and the slightly more song-oriented work of The Zoo Wheel. All of the acts featured some sort of visual accompaniment, including a lot of abstract shapes morphing in video projections. Lisa Slodki’s montages – which she created live by mixing together images from four VCRs (how analog!) – were particularly strong during the sets by Haptic and The Fortieth Day.

My favorite bands of the festival were the headliners each night. On Friday, DRMWPN (aka Dreamweapon) played another performance of what is basically the band’s one song, a mesmerizing and spiritual drone with wordless vocals by Jim Dorling floating above it all and a spinning column of light. On Saturday, David Daniell assembled eleven musicians, including acoustic guitarists and classical strings, to perform a piece from sheet music that featured recurring, overlapping and repeating patterns of notes. It sounded more like Steve Reich than true drone, but that’s fine with me.

See my photos from Fugue State.

Seun Kuti at Millennium Park

Seun Kuti is one of the legendary Fela Kuti’s sons, and he’s now making his North American debut with a tour backed by Egypt 80, including some of his father’s musicians. Apparently, the band almost didn’t make it into the U.S. because of visa problems, but Senator Barack Obama’s office intervened and got them in. (Or so said the emcee last night… winning a round of applause for Obama.) Kuti played a free concert last night (June 28) at the Pritzker Pavilion in Millennium Park, which is an excellent place to enjoy music.

The free world-music shows are great and hassle-free… I love how you can just walk in and sit down wherever you want. Last year’s concert by Seu Jorge and Amadou & Mariam was a memorable one, marred only slightly by the humorously hapless efforts of the security guards to prevent people from dancing or taking photographs. They seem to have realized the futility of even trying, because last night they pretty much let people do whatever they wanted, except block the aisles or take flash photos. Heck, one of the security guards standing near me more or less stopped doing anything other than smiling and dancing by the end of the show. This was just the sort of groovy Afrobeat you’d expect from a son of Fela. Seun Kuti has a tatoo across his back that reads: “FELA LIVES.” The son proved himself to be quite a showman, dancing across the stage as he sang and played sax. Near the end, he exhorted fans to get onstage and dance, and they did – by the hundreds. The opening DJ set by Rich Medina was also quite good, filled with lots of terrific African records.

See my photos of Seun Kuti & Egypt 80.

More BAM Fest

In addition to the Wrens, the Belmont Arts and Music Festival featured a very impressive lineup of bands. It seems like every summer in Chicago has one or two of these street fests with concert schedules that stand out above the others, and this year, BAM was one of the best. I didn’t make it there on Saturday, when Bob Mould, Jason Isbell, Heartless Bastards and Drams were playing.

On Sunday, I showed up around 5:30, in time to see BRIGHTON MA, a fine new Chicago band that Matt Kerstein formed after leaving the Scotland Yard Gospel Choir. Kerstein has a strong voice and some winning songs, ranging from Dylanesque folk rock to Bowieseque anthems. Read my story about Brighton MA for Pioneer Press. See my photos of Brighton MA.

Next up was SOMEONE STILL LOVES YOU BORIS YELTSIN, a band with some very tuneful pop songs including “Oregon Girl.” I saw them do an acoustic set at SXSW, and they sounded even better plugged in this time. See my photos of Someone Still Loves You Boris Yeltsin.

SAY HI TO YOUR MOM was another band that I saw on the day stage at SXSW this year. Funny thing is, one of the main things I remembered about Say Hi was that they had a teriffic drummer. Well, for their current tour, that drummer is gone, replaced by a drum machine. Their music was still fairly entertaining, a mix of techno pop and strummed electric guitar chords with a mix of male and female vox. There were songs about vampires and spaceships. I liked it, but I think I would have liked it better with the drummer. See my photos of Say Hi to Your Mom.

To read about the final act of the night, see my separate post about the Wrens.

Recent concerts

I’ve fallen behind on blogging about some of the concerts I’ve seen lately. Let’s see… I had hoped to see THE WALKMEN June 16 at the Randolph Street Festival, but due to my own poor planning and a slow Red Line train, I showed up just as the Walkmen were finishing. I did catch the last set of the night by THE SMOKING POPES, which was pretty good. It didn’t change my life or anything, but I enjoyed it. They played a few of the songs from their new album, which is recorded but lacks a release date (or label, I think) at the moment. I’m sure it’ll surface soon.

After the festival, I headed over to the Beat Kitchen to catch a late show by VELCRO LEWIS AND HIS 100-PROOF BAND. It was quite good, from what I recall in my foggy memory… The guy looks kind of like Warren Zevon or something. Doesn’t really sound like him, but he definitely had some gritty, bluesy classic-rock thing going on. See my photos of Velcro Lewis.

On Tuesday (June 19), I saw FEIST at the Vic Theatre, with opening act GRIZZLY BEAR. Both sets were on the mellow side, but very much enchanting to these ears. I do sort of wish Grizzly Bear would rock a little bit more on occasion, but the band’s songs are subtle and beautiful. The crowd listened in a respectful hush.

I’d been looking forward to the show by Feist for a while, since her new album The Reminder is one of my recent favorites. She kept things in a hushed mood, with her backup band providing some really nice and restrained arrangements – it was so spare that you wondered if she really needed four musicians to make so little noise, but they were great at setting the right atmosphere. Feist’s voice was in fine form, and she also showed some spark with her guitar playing. And she was in a fun mood, bantering quite a bit with the crowd (maybe a tad too much). She tried singing all of her banter, but quickly abandoned that idea. She also solicited people in the crowd to hand up college homework, and read aloud from someone’s barely decipherable scientific paper. She was kooky but not, you know Cat Power kooky. Overall, a very nice evening of music.

I didn’t have a photo pass for this show, so I didn’t bring my camera, but my friend Kirstie got some great shots. Check them out on flickr.

On Friday (June 22), I got to Metro just in time for the headlining set by THE IKE REILLY ASSASSINATION. Reilly’s a great songwriter I’ve somehow managed to miss seeing live, even though I’ve interviewed the guy three times. His lyrics are gritty, seemingly real-life stories with a lot of wisdom, and he also has a good knack for writing catchy sing-along choruses. He’s one of those indie-rock artists who seem like they’d have a lot more fans if more people heard their music. It was nice to see him fill up Metro with enthusiastic fans who were familiar with his songs. Maybe the exposure he’s received on WXRT has helped, or maybe more people are finally catching on to Reilly. What’s he sound like? I hear some similarities to the Hold Steady, Steve Earle and, of course, Dylan and Springsteen, maybe a little Beck, a little Tom Petty. His songs are made to be played live, and Reilly and his band rocked out with enthusiasm, really working up a sweat. (Sorry, no photos from this show, either.)

The Wrens at BAM Fest

It was a typically great, rampaging rock show by the Wrens last night (June 24) at the Belmont Art and Music Festival. Lots of songs from Meadowlands, of course. I sure hope they do a new album soon, but there’s something strangely appealing about seeing them still touring years later on the strength of the same record, which has grown in my estimation to become one of my favorites of recent years.

And the Wrens are surely up there on the list of the best live rock bands going right now. I love the way the songs sound almost deconstructed in concert – starting off with little looping guitar notes – and then build up into huge anthems, the crowd going nuts and singing along. I didn’t keep track of the set list, or the order of songs that were played. They started with just Charles Bissell and Greg Whelan onstage, with the other guys joining them mid-song. Right away, Kevin Whelan was pulling people out of the audience to help out – a couple of people to play a keyboard part. Later, they did the standard bit with a crowd of audience members banging drum sticks onstage. As usual, Kevin acted like a lunatic, tossing around his bass with abandon (which is practically encased in duct tape, with a postcard of the Virgin Mary under the spot where your fingers pluck the strings). He exhorted the crowd to clap along with an almost angry insistence on his face. When this guy wants you to clap, don’t say no. Bissell did a little bit of leaping, too, and the two of them were pretty much drenched in sweat by the end of the set.

They started maybe 10 minutes before the posted starting time of 9 p.m., played a fairly short set, then came back for an encore of course. It’s pretty unusual for a band to play two encores at a street fest, but the crowd wouldn’t stop clapping even when the spotlights went off and the canned music came on, so the Wrens came back for another song. And then it looked like there might be a third encore, until they started taking the drum kit apart.

See my photos of the Wrens

I’ll have more photos and blog entries later about other bands at the BAM fest, plus some other recent concerts and such stuff that I need to catch up on…

Mosh pit melee

I had every intention of seeing the keyboard-and-drums indie-rock duo Matt & Kim Thursday night (June 14) at Subterranean. I was on the guest list. I had my camera at the ready… But a mosh pit intervened. That is to say, I felt so roughed up by the pushing, shoving fans in the Subterranean audience during the two opening bands that I just had to get out of that place and take a walk in the fresh night air. And so, I bailed out on this concert before Matt & Kim even took the stage.

And what about those opening bands? Well, first there was Dynamite Arrows, which played pretty straight-up punk rock. Seemed pretty good. The lead singer jumped out into the audience within seconds of starting the first song, and thus the moshing began. Things were not too bad from my vantage point during the Dynamite Arrows set, because all of the singer’s forays into the audience took a few feet to my right, keeping me out of the line of fire, so to speak. Still, there was a lot of body movement going on, and I just started to think, “Man, I’m too old for this…” A little bit of moshing goes a long way with me.

Some DJ’s were playing music between the sets, and a makeshift screen hanging above the Subt stage showed projections from a computer … most of which were annoyingly repetitious displays of the words “Dynamite Arrows” on top of a picture of Rambo. Stupidest concert visual effects ever?!?

And then came Hyper Viper, a more dance-oriented rock band (featuring at least one member of Dynamite Arrows). I think I liked some of the music, but I’m really in no place to judge because I was so distracted by the fact that I was caught up in a melee of people pushing one another. I spent most of the show with my body pinned against a stage monitor. After a while, I gave up on taking photos – after my camera got bumped into the side of my face as I was trying to take a shot. After that, I was mostly concerned about protecting my camera and lenses from getting damaged, and protecting myself from breaking some ribs or spraining some muscles. At one point, a guy (a photographer, for crying out loud!) decided to surf the crowd, and his move to ascend onto the crowd included kicking me in the face. That was about when I decided to leave. Did I mention people were also tossing full cans of beer at the stage?

See photos of Dynamite Arrows and Hyper Viper.

Richard Thompson at Park West

Richard Thompson’s one of those musicians who really shouldn’t be missed. See him at any opportunity you have. I’ve managed to see him only a puny four times before the show Wednesday (June 13) at Park West. The previous times were an acoustic set at the Guinness Fleadh at Arlington Park, an acoustic show at the Old Town School of Folk Music’s Folk and Roots Festival (when the lineup for the day also included the Mekons and Patti Smith!), another acoustic show in Cologne/Köln, Germany (where I just happened to be on vacation at the time, and where I ended up marveling at the insistent and enthusiastic applause by the German crowd at the end of the show – those people just would not leave, even for a few minutes after the house lights came on), and a full-band concert a few years ago at Chicago’s House of Blues.

As much as I like Thompson’s studio recordings, few of them fully capture the amazing qualities of his live performances. This guy is one of those rare musicians that excels on several levels: excellent guitar playing, of course, which ranks him right near the top of any list of best guitar players; sophisticated songwriting; decent singing (I like his voice a lot, though I could see why it doesn’t bowl over everyone); and a teriffic sense of humor and an engaging personality.

All of these traits were on full display at Wednesday’s show. The only down side was that the Park West, which normally has quite good acoustics, sounded pretty murky and bass-heavy for Thompson’s performance. The murkiness went in and out; maybe 50 percent of the show sounded OK. The other half sounded like crap, even when the instrumentation was as simple as one voice, one guitar and a bass. How can you screw that up? Anyway, it was still possible to make out most of the nuances of Thompson’s fluid guitar solos through the murk, but it would have been so much more enjoyable with the pristine sound that it deserved.

The songs from Thompson’s new record sounded good, but I was really there to hear classics like “Wall of Death,” “Al Bowlly’s In Heaven” and “1952 Vincent Black Lightning.” He obliged with those songs, plus several other deep cuts. His rapid plucking on “Vincent” is just as much of a marvel as it ever was, and his electric soloing on “Hard on Me” was scorching. Great backup band, too.

Most of the crowd was from the Boomer demographic, making this one of the rare shows when I actually feel like one of the younger people in attendance. Looking out at the people standing on the dance floor at the front of the Park West, Thompson cracked, “I love to see middle-aged people standing up to hear acoustic music.”

I hadn’t made any arrangements beforehand to get press tickets or a photo pass, and unfortunately, the Park West security enforced a no-photos policy, so I had to take my camera back to my car before the concert. Hence, no photos here on the Underground Bee from the Richard Thompson concert. Oh, well.

Here’s the set list:

Needle & Thread
Bad Monkey
Take Care the Road You Choose
Dad’s Gonna Kill Me
I Still Dream
Wrong Heartbeat
Al Bowlly’s In Heaven
1952 Vincent Black Lightning
The Sun Never Shines on the Poor
I’ll Never Give It Up
One Door Opens
Hard On Me
Mingulay Boat Song
Man In Need
Hard Luck Stories
Too Late to Go Fishing
Wall of Death
Read About Love
ENCORE 1:
Sunset Song
Mr Stupid
ENCORE 2:
Gypsy Love Songs
Tear Stained Letter

Edward Burch and Friends

Edward Burch has been an unsung hero of Chicago’s alt-country scene for some years. Best known as one half of the duo that Jay Bennett formed just after leaving Wilco, Burch also used to have a regular gig on Monday nights at the Hideout with another then-member of Wilco, LeRoy Bach. Burch has played with a lot of other musicians over the years, and you’ll also see his byline from time to time on record reviews in publications such as Magnet. It’s clear from his choice of cover songs that he has a deep knowledge of underground rock music, power pop and folk. There’s something modest and unassuming about the guy.

Burch, who has been living in Champaign, is moving to Austin, Texas, because his wife, Rachel, just got a new job there. And so the Hideout hosted a special night of music on Monday (June 11) to bid Burch farewell. It was a sprawling, epic affair, lasting practically four hours, with many fine moments along the way. Bach came in from California to play several songs with Burch. Bennett joined him, too, as did Steve Dawson and Diane Christiansen of Dolly Varden, Steve Frisbie, Andy Leach, John Peacock and a slew of string players.

The section of the concert featuring a string quartet was really special, featuring lovely chamber-music arrangements of songs by Elvis Costello (“Just Like Candy”), John Cale (“Paris 1919”), Big Star (“Stroke It Noel”) and others. Of course, we heard several of the Bennett & Burch Palace at 4 A.M. songs that Burch sang, such as “Talk to Me,” “Venus Stopped the Train” and “Little White Cottage.” My favorite covers of the night included Badfinger’s “Lonely You,” Chris Bell’s “Look Up” and the Beach Boys’ “Surf’s Up.”

All in all, it was a lovely way to send off Edward to his new home in Austin, and it was hard not to feel a little sad and wisftul to see him go.

See my photos of Edward Burch and friends.

Brakes at the Empty Bottle

Brakes – the British band that has started calling itself BrakesBrakesBrakes in the U.S. for legal reasons – released one of the best records of 2005, Give Blood, a fun set of punk, folk and country in short dashes. Some of the songs are so short that they’re like haiku with guitars and screams. No song outstays its welcome. I saw Brakes at SXSW in 2006, but they hadn’t made it to Chicago until Sunday (June 10), when they finally came to town for a concert at the Empty Bottle.

The first band of the night was Electric Soft Parade, which overlaps with Brakes by a couple of members. I don’t know this band at all, but I enjoyed their performance quite a bit. It’s in a similar vein to Brakes, with less country twang and a little more Robyn Hitchcock Britishness. The middle band was Pela, a group of New York rockers who put on a pretty good show. I don’t know that their music did anything groundbreaking (they played a Pixies cover, which will give you an idea of where they’re coming from), but when they really let loose in the louder moments of their songs, it was fairly intense.

Brakes were simply great, playing lots of songs from the first album (well, it is pretty short) as well as the new one, The Beatific Visions. I love the whiny tone of the vocals, the constant presence of acoustic guitar, the off-kilter style of the songs. At their core, they’re just great songs, with a fair amount of English humor. For the two shortest songs of all, the political rant “Cheney” and “Comma Comma Stop,” Brakes obliged audience requests and played the songs twice in a row.

See photos of Brakes and Electric Soft Parade. See photos of Pela.

Dave Drazin at Blues Fest

In the interest of full disclosure, I should say right off the bat that Dave Drazin is a friend of mine. But I can honestly say he’s a terrific piano player, and plenty of others will tell you the same thing. Dave’s best known for playing piano at showings of silent movies, but he’s also an excellent player of old-time blues, jazz and ragtime, and all of those skills were on display during his superb set Saturday afternoon on one of the side stages at the Chicago Blues Festival.

See photos of Dave Drazin.

Keren Ann at Lakeshore Theatre

Lakeshore Theatre is a good place to see a quiet concert, a sit-down venue where people actually pay attention to the music and refrain from yapping. It was the perfect place to see Keren Ann on Friday (June 8). Is it a cliche to call her a chanteuse? Well, she does sing sometimes in French, so it seems appropriate to me. I’m not that familiar with her music – I’ve failed to keep up on all of her releases – but I thought she came across really well in concert, playing with just a guitarist and trumpeter as her backup band. Most of the music was in a low-key hush, but Keren Ann and her musical companions occasionally rocked a little. For her encore, she did two cool covers, the country classic “Tennessee Waltz” and Joni Mitchell’s “Big Yellow Taxi.”

Opening act Jason Hart played meandering, pretentious songs that straddled the line between smooth jazz and prog rock.

Photo notes: It was a fairly dim show, and it was hard to get a good clear shot of Keren Ann without disrupting the mellow mood in the theater, so I’m not terribly excited with the photos I got. Nothing is as sharp as I’d liked it to be.

See my photos of Keren Ann.

Pipettes at the Empty Bottle

The Pipettes put on a fun show at SXSW (fun to hear, and fun to photograph). It was cool to see them again last night (June 7) when they made their Chicago debut at the Empty Bottle. Somehow, I thought they would have filled a bigger venue, though I guess their album still isn’t out in the U.S., so expect them to play a larger place when they come back – maybe this fall? The Pipettes’ formula is pretty simple: This is old-fashioned girl group music with slightly more ribald lyrics than the old stuff, and a few contemporary touches. A big part of the Pipettes’ appeal as a live act is that they’re three cute Brit chicks with saucy attitude and slinky outfits. (It’s too bad they were playing at the Bottle, which is a cool venue in many ways, but not for its dim stage lighting. Though I prefer not to use flash for my concert photos, I was forced to use the flash most of the night this time.)

Monster Bobby (a member of the Pipettes’ backup band, who is described as their “progenitor”) opened the show with his awkward and stilted songs – they were awkward and stilted in an amusing way, and some of them were actually pretty good songs, but the shtick wore thing fairly fast. Next up was Smoosh, a very young band featuring a couple of sisters (three of them on a few songs, when the youngest sis of all came up to play bass) playing primitive keyboard rock. Not bad at all, though I think I’ll wait until they’re a little older to hear what they can play then.

See my photos of the Pipettes.

‘Alchemy of Bones’ out in paperback


A quick plug for my book. Alchemy of Bones: Chicago’s Luetgert Murder Case of 1897 is out now in paperback. The book’s available at: Amazon, Barnes & Noble, the University of Illinois Press and bookstores. If you don’t see it at your local shop, you should be able to order it through the store.

Copies will be for sale this Saturday and Sunday (June 9 and 10) at the Printers Row Book Fair in Chicago, at the University of Illinois Press table, which will be in the fourth tent south of Congress on Dearborn. If you’re interested in buying an autographed copy directly from me, please send me an e-mail.

To find out more about the book, visit the Web site I created for it: www.alchemyofbones.com. And in case you’re wondering… yes, I am working on a second book. More about that later.

Writing about music, Part 2

Another favorite passage of mine, this is from Swann’s Way by Marcel Proust. It’s a long excerpt, simply because it’s so hard to trunctate into any short quote that captures its essence. (I have broken it up into smaller paragraphs, however – sorry, Marcel, but when you blog, you need to keep those paragraphs a little shorter.) Quite simply, it’s one of the best descriptions of music’s fleeting and indefinable qualities.

The year before, at an evening party, he had heard a piece of music played on the piano and violin. At first he had appreciated only the material quality of the sounds which those instruments secreted. And it had been a source of keen pleasure when, below the narrow ribbon of the violin-part, delicate, unyielding, substantial and governing the whole, he had suddenly perceived, where it was trying to surge upwards in a flowing tide of sound, the mass of the piano-part, multiform, coherent, level, and breaking everywhere in melody like the deep blue tumult of the sea, silvered and charmed into a minor key by the moonlight.

But at a given moment, without being able to distinguish any clear outline, or to give a name to what was pleasing him, suddenly enraptured, he had tried to collect, to treasure in his memory the phrase or harmony—he knew not which—that had just been played, and had opened and expanded his soul, just as the fragrance of certain roses, wafted upon the moist air of evening, has the power of dilating our nostrils. Perhaps it was owing to his own ignorance of music that he had been able to receive so confused an impression, one of those that are, notwithstanding, our only purely musical impressions, limited in their extent, entirely original, and irreducible into any other kind.

An impression of this order, vanishing in an instant, is, so to speak, an impression sine materia. Presumably the notes which we hear at such moments tend to spread out before our eyes, over surfaces greater or smaller according to their pitch and volume; to trace arabesque designs, to give us the sensation of breath or tenuity, stability or caprice. But the notes themselves have vanished before these sensations have developed sufficiently to escape submersion under those which the following, or even simultaneous, notes have already begun to awaken in us.

And this indefinite perception would continue to smother in its molten liquidity the motifs which now and then emerge, barely discernible, to plunge again and disappear and drown; recognized only by the particular kind of pleasure which they instill, impossible to describe, to recollect, to name; ineffable – if our memory, like a laborer who toils at the laying down of firm foundations beneath the tumult of the waves, did not, by fashioning for us facsimiles of those fugitive phrases, enable us to compare and to contrast them with those that follow.

And so, hardly had the delicious sensation, which Swann had experienced, died away, before his memory had furnished him with an immediate transcript, summary, it is true, and provisional, but one on which he had kept his eyes fixed while the playing continued, so effectively that, when the same impression suddenly returned, it was no longer uncapturable.

He was able to picture to himself its extent, its symmetrical arrangement, its notation, the strength of its expression; he had before him that definite object which was no longer pure music, but rather design, architecture, thought, and which allowed the actual music to be recalled. This time he had distinguished quite clearly a phrase which emerged for a few moments above the waves of sound. It had at once suggested to him a world of inexpressible delights, of whose existence, before hearing it, he had never dreamed, into which he felt that nothing else could initiate him; and he had been filled with love for it, as with a new and strange desire.

With a slow and rhythmical movement it led him first this way, then that, towards a state of happiness that was noble, unintelligible, and yet precise. And then suddenly, having reached a certain point from which he was preparing to follow it, after a momentary pause, abruptly it changed direction, and in a fresh movement, more rapid, fragile, melancholy, incessant, sweet, it bore him off with it towards new vistas. Then it vanished.

He hoped, with a passionate longing, that he might find it again, a third time. And reappear it did, though without speaking to him more clearly, bringing him, indeed, a pleasure less profound. But when he returned home he felt the need of it: he was like a man into whose life a woman he has seen for a moment passing by has brought the image of a new beauty which deepens his own sensibility, although he does not even know her name or whether he will ever see her again.

…at last, he ceased to think of it.

But that night, at Mme Verdurin’s, scarcely had the young pianist begun to play than suddenly, after a high note sustained through two whole bars, Swann sensed its approach, stealing forth from beneath that long-drawn sonority, stretched like a curtain of sound to veil the mystery of its incubation, and recognised, secret, murmuring, detatched, the airy and perfumed phrase that he had loved. And it was so peculiarly itself, it had so individual, so irreplaceable a charm, that Swann felt as though he had met, in a friend’s drawing-room, a woman whom he had seen and admired in the street and had despaired of ever seeing again…

Eleni Mandell at Schubas

I’m belatedly familiarizing myself with the music of Eleni Mandell, and after listening to a couple of her records, the show Sunday (June 3) at Schubas was a nice introduction to her work. She alternated between quiet, almost cabaret alt-country songs (more gothic than twangy) and old-fashioned rock ‘n’ roll numbers (a slight touch of rockabilly). Mandell played one of those pint-sized guitars (standard six strings, but a smaller body), and she remarked after one of her livelier songs that the audience probably didn’t expect she would rock so much after seeing how small her guitar was.

See my photos of Eleni Mandell.

The opening act, Judson Claiborne, played a solo acoustic set of sad songs – he noted a couple of times that all of his songs are depressing. He sang in a froggy baritone and wore an old-fashioned hat, which matched the music. The audience was pretty quiet and respectful, considering that he was a little-known opener. I’d like to hear more of Claiborne’s music.

See my photos of Judson Claiborne.

Clientele, Beach House & Singleman Affair

The Clinetele were headlining Saturday (June 2) at Subterranean, with another band I don’t know too well (Beach House), plus the Singleman Affair – who are quickly becoming one of my favorite Chicago groups. The Singleman Affair’s 2006 album was great, and the songs are even better in concert, now that it has become more of a true band than a cloistered solo-recording project. I can’t wait for the next Singleman Affair record, though it looks like I will have to wait until sometime next year.

As I said, I don’t know much about Beach House, though a fair number of other people at the show clearly did. A duo – female singer on vocals and keyboards, guy on guitar, both of them sitting down. Sort of techno (in a Broadcast sort of way) but not really. It struck me as pretty good, worth checking out on record.

The Clientele’s new album God Save the Clientele is a nice slice of Left Banke-style pretty ’60s orchestral pop and very English singing. It came off quite well in concert, with more of an emphasis on the guitar (including one great extended guitar solo that included a couple of quotes from “Eight Miles High”). The only problem was that the sound wasn’t so great – at least as far as the band was concerned. Monitor problems. Actually, from the audience it sounded pretty good except for the barely audible violin and backup vocals. The audio difficulties did not ruin the otherwise good concert.

Photographic notes: Could they turn on the lights in this place once in a while? Sheesh. It was extremely dark. I spent much of the night waiting for the musicians to move into those little spots that were actually illuminated by the two functioning spotlights.

See my photos of the Singleman Affair.
See my photos of Beach House.
See my photos of the Clinetele.

Folksongs of Illinois

I recently wrote an article for the Chicago Reader about Folksongs of Illinois, a new series of CDs issued by the Illinois Humanities Council, collecting a truly diverse range of folk music recorded or written in Illinois over the past century. The series is particularly nice because it includes music by a wide range of ethnic groups. A few current performers do some songs on the CDs – no surprise, including the ubiquitous Jon Langford – and a few of them played an early free show June 1 at Martyrs’.

The brains behind the whole project is Bucky Halker, an overlooked singer-songwriter in his own right (not to mention that he’s a published author on the history of labor music). Halker, John Rice, Janet Bean, Jon Langford, Paul Tyler and some of Tyler’s fiddle students at the Old Town School of Folk Music paraded across the stage and played some great old tunes. I especially liked Halker’s version of a song that Woody Guthrie wrote during his years in Illinois, a mining-disaster ballad, “The Dying Miner,” Bean singing the true story of a gangster’s hanging, “The Hanging of Charlie Berger” and Langford singing “Mississippi Flood.” (The studio version of that song features Kelly Hogan as well, but she wasn’t available for the live show.)

Volume 1 and Volume 2 of Folksongs of Illinois are out now, and the third is scheduled to come out this fall.

See my photos from the concert.

Writing about music, Part 1

From time to time, I’d like to point out some passages of writing about music that I especially like. Here’s one from Stuart Dybek’s superb short-story collection (more of a novel told in stories), I Sailed With Magellan. A stage adaptation of the book will run June 8-July 15 at Victory Gardens Theater, which I wrote about for the June issue of Playbill’s Chicago edition. The wistful final story in Dybek’s book, “Je Reviens,” includes this wonderful description of the protagonist’s uncle performing with a wedding band:

I walked thinking about Uncle Lefty, my godfather. When I was little and he was just back from the POW camp in Korea, he used to take me along on his rounds of the neighborhod taverns. I was considered good therapy for him back then. Later, after he started playing in public again, I’d sometimes go to hear the Gents play wedding receptions held in the back halls of corner taverns. I’d wait for the moment when Lefty switched from his cheap metal clarinet to the tarnished tenor sax that had spent the evening on the bandstand, armed with a number 4 1/2 Rico reed and draped with a white towel Lefty called his spit rag. Swaying drunkenly at the edge of the bandstand, Lefty would launch into a solo with the Bruiser behind him slamming the foot pedal of the bass drum as if flooring the gas and driving his red sparkle Ludwig kit over the edge of the stage, taking the rest of the Gents with him. The dancers whooped and whirled and stomped, but finally were defeated by the tempo and stood on the dance floor gaping and panting while the bridesmaids stumbled dizzily in their disheveled taffeta like deposed prom queens. Lefty blew, possessed and oblivious to the rising imprecations of the wedding guests, who stood on their folding chairs shouting for dance music. Even the pleas of his fellow Gents, all of whom with the exception of the Bruiser had stopped playing, couldn’t silence him, leaving them no recourse but to drag Lefty, still wailing on his horn, off the stage.

The Broken West at Schubas

The Broken West – who used to be called the Brokedown, when I saw them in 2006 at SXSW – have a very good debut album out on the Merge label called I Can’t Go On I’ll Go On, filled with lots of catchy songs in the jangly-guitar, harmony-vocals vein. Somewhere a little outside the realms of power pop, with something of a California sound. They put on a nice set Wednesday night at Schubas, with most of the songs from the debut CD, plus a couple of tracks from their earlier Brokedown EP and one unreleased song. They’re not (yet) the sort of band that makes the songs sound a lot better or more exciting in concert, but they do put on a nice performance. I showed up halfway through an opening set by Probably Vampires, who played tuneful pop music that bounced along to keyboard chords.

SEE PHOTOS OF THE BROKEN WEST AND PROBABLY VAMPIRES

Arcade Fire at the Chicago Theatre

Another old Daily Southtown concert review I’m belatedly posting now. I also saw the Arcade Fire concert two nights later, which was nearly as good.

ARCADE FIRE, MAY 18 AT THE CHICAGO THEATRE

The 10 musicians in the Arcade Fire made their entrance Friday night at the Chicago Theatre by strolling up the center aisle through the audience.

And then, the group frequently switched on a set of lights that illuminated the audience instead of the band. The message seemed to be that those rock stars up on the stage are just regular people like everyone else in the theater.

But what extraordinary musicians they are. Other bands may be more virtuosic, but few if any can top the Arcade Fire for playing with reckless passion and almost insane energy.

During the touring that followed the Montreal band’s 2004 debut, “Funeral,” the Arcade Fire quickly established a reputation as one of the world’s best live bands. That reputation is still intact after Friday’s riveting performance.

It was the first of three sold-out shows at the Chicago Theatre for the Arcade Fire, a band that played in front of a much tinier crowd at Chicago’s Empty Bottle just three years. Despite the exponential increase in venue size, the band still shows the same anarchic spirit that animated it when it was playing those early shows.

The Arcade Fire’s second album, “Neon Bible,” is a little more stately and subdued than the debut. It’s a very good record, but one had to wonder if the songs would translate into the same live experience as the “Funeral” songs.

The band has been playing the new songs long enough now that it seems to have figured out ways of taking them up a notch in concert. The audience reacted enthusiastically to the “Neon Bible” songs, clapping and swaying to the beat, but the crowd response got even more intense whenever the band played tracks from “Funeral.”

With violins and horns plus an ever-shifting lineup of instruments, including hurdy-gurdy, mandolin and organ, the Arcade Fire sounded at times like an orchestra or a folk string band, often playing with the spirit of a gospel revival show. Lead vocalist Win Butler sang his heart out, while several other members of the band added force to the songs with their huge chorus of harmony vocals.

During a few of the old songs, multi-instrumentalists Will Butler (Win’s brother) and Richard Reed Parry grabbed drumsticks and played percussion on whatever objects were in front of them — including each other. At one point, they threw pieces of a drum kit at each other. They never bothered to put on the helmets that they use to wear for protection during such stunts.

The Arcade Fire closed its second and final encore with Régine Chassagne, Win Butler’s wife and the other lead vocalist, singing “In the Backseat,” the closing track on “Funeral.” Even during this fairly quiet song, the band achieved an epic sound.

Chassagne sang in a tremulous voice, as if the emotions of the lyrics were still fresh in her mind. That’s one thing about the Arcade Fire — when these musicians perform their songs, they always sounds like they mean it.

SETLIST
Black Mirror
Keep the Car Running
(Antichrist Television Blues)
No Cars Go
Haiti
Neighborhood #2 (Laika)
Intervention
Neon Bible
The Well and the Lighthouse
Neighborhood #3 (Power Out)
My Body Is a Cage
Windowsill
Rebellion (Lies)
ENCORE
Ocean of Noise
Neighborhood #1 (Tunnels)
ENCORE 2
In the backseat

Björk at the Auditorium

Looking over my list of the year’s best concerts, I realized that a few of the shows I reviewed for The Daily Southtown are no longer online. Here then, are a few reviews from months back, which I post here in the interest of completeness…

BJÖRK, MAY 12 AT THE AUDITORIUM THEATRE

Whatever you think of Björk — whether you mock her for wearing swans or worship her oddball genius — it’s undeniable that she has a great instinct for showmanship.

The Icelandic star played her first song Saturday night completely hidden behind the Auditorium Theatre’s stage curtains. As that singular voice of hers emerged and fans anxiously waited for the curtains to part, the sense of anticipation was palpable.

And then finally, as she finished a quiet version of an old song, “Cover Me,” the stage was quickly unveiled. Bursts of flames, so bright that they almost hurt the eyes, cast a hellish red glow as Björk and her band broke into the herky-jerky rhythms of “Earth Invaders,” the opening track off her new record, “Volta.”

Wearing a crinkly gold dress, Björk stomped and swayed in front of a strange tableau — colorful banners with images of fish, flags, Icelandic women playing horns and dressed in pastel outfits. After those flames made their brief appearance, the stage seemed less ominous and more like the setting for an international peace conference.

The theatrical flourishes prompted applause but the loudest bursts of clapping came whenever Björk released the full force of her remarkable voice, holding the microphone away from her mouth as she belted out notes from deep in her throat.

Surprisingly, Björk played only four songs from her new album. Instead of focusing on “Volta,” she treated the concert more like chance to offer a sample of music from throughout her career. Though she left out a few of her most popular songs (no “Human Behavior”), it was almost a greatest-hits show.

These weren’t note-for-note simulations of the studio recordings, though. Backed by a drummer, three musicians on keyboards and computers, and 10 women doubling as brass players and backup vocalists, Björk deconstructed some of her tunes, turning them into brass chamber music or harpsichord ballads.

The brass arrangements were beautiful, taking the place of the orchestral strings on songs such as “Bachelorette” or adding grandeur to the more techno tunes. They were a perfect complement to Björk’s voice, which is something of a brass instrument itself.

On some of the more upbeat dance numbers, such as “Hyper-Ballad,” lasers flashed, Björk wheeled around in her regal outfit, and the music hewed fairly close to the spirit of the original recordings.

Comments overheard in the audience made it clear that many fans liked Björk’s selections for the night’s set list. As the crowd filed out, one young woman remarked, “Now I can die happy.”

SET LIST
Cover Me
Earth Intruders
Venus As A Boy
Aurora
Unison
All Is Full Of Love
Immature
Pleasure Is All Mine
It’s Not Up To You
Pagan Poetry
Army of Me
Innocence
Bachelorette
Wanderlust
Hyper-Ballad
Pluto

ENCORE:
Oceania
Declare Independence

Adult., Parts & Labor at the Empty Bottle

Last year’s record by the New York band Parts and Labor was pretty interesting stuff, though I had trouble getting through the layers of noise at times. The group’s new album, Mapmaker (coming out later this month from Secretly Canadian) seems even better. The melodies are catchy and downright anthemic at times, but the band is still noisy. All of that came through during a riveting set by the band Friday at the Empty Bottle. Christopher Weingarten’s explosive drumming is practically the focal point of the band. That guy is really going nuts on the drums while bassist/keyboardist BJ Warshaw and guitarist/keyboardist Dan Friel play and sing the songs. One tune featuerd a raga-like drum pattern; others were Keith Moon-ish; and others reminded me of another current New York art-rock band, Oneida. Much of the “keyboard” playing was actually twiddling knobs on electronic devices. Think oscillations more than notes. The catchiness of the vocals came through all of the noisy clatter loud and clear. And halfway through the set, the drum set came apart and they had to pause for a minute to reassemble it hastily.

I’m not as familiar with the music of the headlining band, Adult. It’s electronic pop, which is not one of my favorite genres, but I thought it was fairly good – there was an aggressive edge to the music, not aggressive enough to make it sound like punk, but just enough to keep it from getting too dull and repetitive.

See photos of Adult. and Parts & Labor.

Deadstring Bros., Matt Mays at Schubas

This was a double bill I couldn’t resist. Not only are the Deadstring Brothers a fine band, but the opening act was Matt Mays and el Torpedo, a great roots-rock band from Nova Scotia who (to my knowledge) have never played in Chicago before. I’ve missed them every year at SXSW, but then I was blown away by the intensity of the performance they gave of the song “Cocaine Cowgirl” Dec. 15, 2006, on “Late Night With Conan O’Brien.” (How on earth did they land that gig?) Their album has been awfully hard to find in the U.S., and I ordered a copy in 2005 through amazon.ca, the Canadian version of amazon.

The turnout was a little light, which was to be expected for a Monday-night concert at Schubas with little or no publicity, but crowd got a little bigger as the music started, until there was a repsectable-sized crowd… but lots of space for more people. Matt Mays and his band (including a new guitarist) put in a good performance, though they didn’t quite catch fire like they did on “Conan.” The songs tended to be somewhat long, with a fair amount of jamming, which was OK with me.

The Deadstring Brothers played a short set (short because of it being a Monday night with a half-full room?) but it was pretty darn enjoyable. The songs from last year’s album sounded great, and the band threw in a few new songs that’ll be on a Bloodshot album this fall. The Deadstring Brothers are a bit too slavish in their imitation of Exile-era Stones, but if you’re going to copy a sound, that’s not a bad sound to copy. Plus, there’s plenty of the Band and Dylan mixed in, too.

See photos of Matt Mays.


See photos of the Deadstring Brothers.

Anitbalas at Park West

Security, the new record by Antibalas – or if you prefer, Antibalas Afrobeat Orchestra – is one of my favorites of 2007 so far. Those who say the studio records by Antibalas are lacking something compared to the concerts don’t know what they’re talking about. To me, the record’s a perfect distillation of all the great sounds that make up this band – the punchy horns, those cool organ and electric piano sounds, the fabulous rhythm section’s grooves, the chant-like choruses. The songs tend to be long, and they go in unusual directions. I get the feeling that the musicians in Antibalas are giving in to the logic of the music. They’re letting it lead them wherever it goes without worrying about whether it will fit within traditional musical boundaries.

That said, they are also great in concert. I just don’t see the two experiences as appreciably different. Not surprisingly, Antibalas put on an exciting live show last night at Park West. It was great fun to see Duke Amayo leaping around exuberantly during the parts of the songs where he sings, then hurrying over to the congas to play his percussion parts. And Stuart Bogie looked like he was having just as much fun conducting the orchestra in between blasts on his sax. Those horns sound so strong – there’s a strong jazz influence on this group, though I’m guessing jazz purists wouldn’t think of it as jazz. Most of it is composed, though there are some improvisational jams, and the horn arrangements are built around angular melodies you don’t usually hear in jazz. Of course, it all sounds an awful lot like the music of Afrobeat founder Fela Kuti and his drumming protege, Tony Allen, but that’s all right with me. Fela’s music has really become more like a genre than a specific artist’s style, and Antibalas does an amazing job of bringing that music into the future, putting its own distinctive stamp on it, including a bit of a Latin vibe. Long live Antibalas!

…One more thought: It was a very young crowd at the the Antibalas show last night, including a fair number of kids who looked like jam-band fans, judging from the scraggly bears and other accoutrements. That left me wondering … just how did these people discover the music of Antibalas and get into it? It’s not exactly getting played on the radio, as far as I know. I’ve never been a big fan of bands in the vein of Phish, et al, but I do like the concept of long improvisational jams when they’re done right, so if people who like jam bands are discovering Afro Beat, that’s very cool as far as I’m concerned.

See my photos of Antibalas.

The Last Town Chorus at Schubas

Yes, I know I just saw the Last Town Chorus recently, but I couldn’t resist another chance to see and hear Megan Hickey’s beautiful singing and lap-steel playing. Another great performance — she really can make that instrument sing — though it was a little disappointing to see such a small turnout for the show. Sunday-night doldrums? Lack of publicity? In any case, it made for an intimate concert, very quiet between the songs. Hickey filled some of the silences with her charming stage banter.

It was nice to hear NPR’s “All Things Considered” give a positive plug to the Last Town Chorus recently.

See my photos of the Last Town Chorus.

Andrew Bird at the Riveria

Before heading over to the Empty Bottle later that night to catch some Mono, I saw Andrew Bird and Apostle of Hustle April 20 at the Riviera Theatre in Chciago. Here’s the review I wrote for The Daily Southtown:

As he played Friday at Chicago’s Riviera Theatre, Andrew Bird looked a little less lonely than he used to. A few years ago, the Chicago singer-songwriter played concerts all by himself, functioning as a one-man orchestra. It was always impressive, but you couldn’t help wishing that Bird had a few other musicians to help him rock a little bit more.

In the midst of a tour to support his excellent new album, “Armchair Apocrypha,” Bird came back home Friday for a sold-out concert at the biggest Chicago venue he has ever played — backed this time by drummer/keyboarist Martin Dosh and guitarist Jeremy Ylvisaker. And at times, they did rock, but Bird still sounded far removed from a conventional rock or pop artist. A gifted writer of beguiling melodies and complex, pun-filled lyrics, Bird has many musical talents: violinist, guitarist, glockenspiel player, crooner and whistler. In concert, all of those talents are on display in a sort of show-and-tell performance that constructs the songs right in front of the audience’s eyes and ears. Using an effects pedal that loops segments of music, Bird plays one part after another — a few plucks on the violin, a few strums the guitar — and layers them higher and higher.

Having two musicians onstage with him meant that Bird did not have to create every song from scratch on Friday, but the concert still had the feeling of a chemistry experiment in a musical laboratory. These weren’t note-for-note reproductions of Bird’s studio recordings. Instead, they exposed all of the little building blocks that go into each song, eventually reaching crescendos of almost symphonic beauty. Bird was not just a cerebral experimenter at the Riviera concert, however. He also displayed a fair amount of passion, especially when he would let loose on one of his spiky guitar solos, whipping his head back and forth.

In the music’s most serene moments, Bird’s voice gracefully swooped and his pitch-perfect whistling hovered above the lovely arrangements that Bird and his collaborators had created. Following the lively opening set by Canada’s Apostle of Hustle, Bird played most of the songs from his new album and a few from his previous record, “The Mysterious Production of Eggs.” As he looked out at the Riviera’s packed auditorium, filled mostly with fans in their late teens or early 20s, Bird sounded sincere as he remarked, “I don’t know what to say. I’m a bit overwhelmed.”

See my photos of Andrew Bird.


See my photos of Apostle of Hustle.

Mono at the Empty Bottle

Mono, a rock band from Japan, is one of the better instrumental groups going these days. I saw them a few years ago in Austin, and was glad to see them again last night at Chicago’s Empty Bottle. In the quiet moments, Mono’s musicians played guitar melodies with very little effect or distortion – just plain notes in beautiful precision. Then the songs burst out into blasts of ecstatic noise. They were fun to photograph, though as usual, the Bottle was pretty dark. And like all of those spooky supernatural beings in Japanese horror movies, the folks in Mono seem to like letting their hair hang down over their faces.

See my photos of Mono.

Youth Group, Aqueduct & What Made Milwaukee Famous

It’s a funny feeling when you’re at a concert, watching a band you’ve never heard before, surrounded by people who are obviously a lot more familiar with the music – and more adoring of it. That’s what I felt like watching the first band at this April 17 show at the Empty Bottle. I’ve seen the name of this band, What Made Milwaukee Famous, countless times, but I’d never gotten around to checking out their music. Maybe because the band has such a dumb-ass name. Well, I can’t say I was too impressed. It was cheerful, slightly bouncy pop, dominated by keyboards. Melodic enough, I guess, but nothing about it really grabbed me. And I found myself feeling misantrhopically irked by all of the fans singing along.

The second band of the night was a similar experience for me, except that I liked it. Another band I’ve been woefully uninformed about, Aqueduct. Strangely, Aqueduct’s music was similar in some ways to What Made Milwaukee Famous – basically, pop music with keyboards and guitar – but I found it much more appealing. It helped that the lead singer (who kept reminding me of the Hurley character on “Lost”) had a great sense of humor.

The reason I was at the Empty Bottle was the Australian headliners, Youth Group, and they did not disappoint. (It was disappointing, though, to see the crowd thin out a bit as some Aqueduct and What Made Milwaukee Famous fans departed.) I was a big fan of the last Youth Group album, Skeleton Jar, and I’m just now hearing the new record, Casino Twlight Dogs. Youth Group’s songs have really strong melodies that stick in your brain. The music finds a great balance between mellow and rocking, and that came off well in concert, as Youth Group let loose during some of the instrumental passages.

See my photos of Youth Group, Aqueduct & What Made Milwaukee Famous.

Black Angels & Vietnam at the Empty Bottle

The Black Angels’ album Passover was one of my favorites from last year, and they also put on a great live show last summer at the Empty Bottle, opening for the Pink Mountaintops. I missed seeing the Black Angels recently in their hometown, Austin, Texas, when I was there for SXSW, so I couldn’t miss their return visit to Chicago. It was a heavy, intense show, with those fuzzy guitar riffs, pounding drums and a groovy groove that seemed to go on all night. The band members sort of wander around the stage, with a very casual attitude. The encore was the strongest part of the set, including a cover of “I Wanna Be Your Dog.” I enjoyed the opening set by Vietnam, too, though I’m less familiar with their music. I heard some Velvet Underground-style drones and noisy solos from these shaggy Brooklynites.

Photographically speaking, it was a frustrating evening. As usual for the Empty Bottle, it was about as bright as the inside of a closet. And to top things off, my special lens for low-light settings is malfunctioning (a stuck focus ring), so it wasn’t easy to get shots that were in focus and light enough to use. I was a little bit more creative than usual in Photoshop…

See my photos of the Black Angels and Vietnam.

Twilight Sad and Northern Chorus

I’m afraid to say I don’t have a whole lot of intelligent music critism to offer on this concert, having heard nothing by either band before I went. I wasn’t even planning on going before a nice publicist for the Northern Chorus called up in the afternoon and offered me a spot on the guest list. Generally speaking, I liked what I heard. Northern Chorus is an orchestral pop band from Canada, with a cellist and violinist sitting front and center, a nice change of pace from the back seat that string sections usually get. It all sounded pretty nice. And then Scotland’s Twlight Sad played. The songs sort of blended together for me, but they had good attitude and spunk. The lead singer did lots of melodramatic posing with the microphone stand, not that there’s anything wrong with that. A local band, Arwin, opened the evening’s lineup with some earnestly played and reasonably melodic songs.

See my photos of the Twlight Sad.

See my photos of Northern Chorus.

The Safes and Big Buildings at Cal’s

This concert was originally supposed to happen at the Horseshoe Tavern on Lincoln Avenue, but that place shut down, so the gig was moved across the street to an unlikely-sounding venue called Save More. Sure enough, it did turn out to be unlikely. When I showed up, it didn’t really look like a concert was going to be happening anytime soon at this very VFW-looking “venue,” er, bar. Members of the Safes and Big Buildings were standing around at the front of the place with some of their gear, talking on their cell phones and trying to line up a last-minute venue change. Apparently, the guy at Save More who needs to be there for live shows wasn’t there. The musicians called up the South Loop venue Cal’s Liquors – probably one of the few places in Chicago that could squeeze two additional bands onto its schedule for that night – and managed to get on the bill there. They put a sign in the window at Save More, text-messaged their fans, and hit the road in their vans for Cal’s.

Thee Fine Lines had just finished playing at Cal’s when I showed up, walking in at the same time as the Safes. A couple of other acts followed with short sets (neither really worth mentioning, in my opinion), then the Safes were finally on, with some rampagingly fun power pop/garage rock. Their enthusiasm was palpable and the songs were very catchy.

See my photos of the Safes.

And it was worth sticking around for Big Buildings, a band I’ve been meaning to see for some time now. This was apparently the farewell gig for Big Building’s current drummer, Adam Yoffe, and the set closed with some covers that will give you an idea of where Big Buildings is coming from: “Queen of Eyes” by the Soft Boys, “Jane of the Waking Universe” by Guided By Voices and some Velvet Underground tune (sorry, I can’t recall the title). Despite the last-second venue change, Cal’s was pretty crowded with Safes and Big Buildings fans who figured out where to go.

See my photos of Big Buildings.

The following is the story I wrote for Pioneer Press about the Safes…

On a recent Friday night, the Safes — a rock band of three brothers from Park Ridge — were supposed to be playing at a bar on Lincoln Avenue called Save More. But when the O’Malley brothers and another Chicago rock band, Big Buildings, showed up at Save More, they discovered that the tavern’s owners weren’t really prepared to host a concert that night. As fans began walking in, the musicians got onto their cell phones, trying to find another place to play.

Frankie O’Malley of the Safes, his hair combed back like a 1950s rocker, assured the arriving fans that there would in fact be a concert that night — somewhere. “It will pay off,” he said. “The rock ’n’ roll is going to pay off. It’ll be great.”

Around 10 p.m., the Safes and Big Buildings managed to find another bar that actually had some time on its schedule to squeeze in two more bands that night — Cal’s Liquors in the South Loop. The musicians posted a sign in Save More’s window about the venue change, text-messaged their fans, and hopped into their vans. Half an hour later, they were hauling drums, guitars and amps through the front door of Cal’s, a little bar on the side of liquor store with no stage to speak of — just a space on the floor where bands play, illuminated by little more than the streetlights shining in the window.

By midnight, the Safes were rambunctiously pounding out power pop and garage rock for a crowd of enthusiastic fans. For half of the set, Patrick O’Malley played guitar and sang, while Frankie drummed. Then they switched instruments, making the gig feel a little like a competition over who would pound the drums harder (Patrick gets the slight edge) and who would jump more with the guitar (Frankie, for sure). Michael O’Malley was a little more low-key in his demeanor, but he contributed just as much, singing as he played bass.

During the show, one of them remarked, “I love my brothers and they love me.” It sounded a little sarcastic, but there was some obvious sincerity beneath that stage banter. As the last song crashed to an end and the Safes hastily disassembled their gear, Frankie joked to a fan, “Can you tell we never practice?”

Actually, it sounds like the Safes have been practicing a lot. Their new album, “Well Well Well,” is chock full of catchy tunes and tight performances. As they play concerts around the country (whenever they can get time off from their day jobs), the Safes are getting noticed. The Boston Globe and Washington Post have run feature stories about the Safes, and the group’s songs are showing up on college and independent radio stations.

Frankie, Patrick and Michael are the youngest of 11 children in the O’Malley family. Michael still lives in their hometown of Park Ridge, while Frankie and Patrick share an apartment in Rogers Park. The Safes originally included another brother, Sean, on drums, and the records feature guest appearances by other members of the O’Malley clan on various instruments. Their cousins, Bill and John Heneghan, taught them their first guitar chords and gave them records by bands like R.E.M., the Cramps and Hüsker Dü in the early ‘80s. “These records were a huge impact and led to other, more underground interests,” Frankie O’Malley said.

The Safes have released three records now, and each one has been dominated by the songwriting of a different O’Malley brother. The first, 2003’s “Family Jewels,” consisted mostly of songs written by Frankie. Then came 2004’s “Boogie Woogie Rumble” EP, featuring Michael’s songs. Now, Patrick wrote most of the new “Well Well Well” disc, which was released in February. The O’Malleys say they didn’t really plan it this way. “It’s just by chance,” Frankie said.

“I write more of the punk rock,” Michael said. “One, two, three! Play as fast as you can. Frankie and Patrick write more sophisticated music, but don’t tell them I told you that.”

“I tend to write more power pop and British Invasion,” Patrick said. “That’s just how it happens.” One track on the new record, “Cool Sounds Are Here Again,” began life as a song by Patrick, but he knew it was missing something. By chance, Michael had written a riff in the same key. “He played me that riff and said, ‘Can you help me do something with this?’” Patrick recalled. He immediately took the riff and grafted it onto his half-completed song. “We all help out on each other’s stuff,” he said.

Have the Safes had any problems with sibling rivalry, which have plagued other brother bands throughout rock history? “Not that we’ll tell you,” Michael said, smiling.

Turning serious, he acknowledged that they do occasionally argue over the music, but he said those arguments serve a constructive purpose. “It’s a way to get better,” he said.

The Safes will play the next two Friday nights, and this time, they know where the concerts will be — Grealy’s Pub this week and the Hideout on April 27. The band has already recorded an EP to be released soon, and the three brothers have a backlog of songs ready for future albums. “We’re a couple records ahead of ourselves,” Frankie said.

Neko Case at Park West

I reviewed this March 29 concert for the Daily Southtown, so for the most part, I’ll just refer you to my review, which is below. It was an excellent show, vintage Neko, with most of Fox Confessor and a good selection of older songs, plus some of the wackiest banter I’ve heard yet between Neko, Hogan and Rauhouse. Lots of talk about Peeps and badger musk. The opening set by Matt Pond PA was pretty good, too, followed by an odd interlude featuring an overhead projector and two people drawing on transarent slides.

Here’s the Southtown review…

Neko Case sprinkles her concerts with wickedly funny, ribald and downright odd stage banter, but all of that silliness vanishes when she is in the throes of singing. Just about every song during her concert Thursday at Chicago’s Park West had at least one moment when Case arched back her head, squeezed her eyes shut and belted out notes that were bold as well as beautiful. The audience falls silent at these moments, and it’s hard not to sense a feeling of awe sweep over the crowd.

For more than a year now, Case has been touring behind her album, Fox Confessor Brings the Flood, and Thursday’s concert — the second of three nights at Park West — did not offer any new material. Case was not lacking for good songs, though. Fox Confessor was one of 2006’s best records, showcasing Case’s development as a writer of sophisticated words, melodies and arrangements.

If anything, the Fox Confessor songs sounded fuller and more assured than they did when Case played with largely the same band in concert a year ago. In the studio versions, these songs feature many little flourishes, but the touring band lacks piano, violin, dulcimer and some of the other instruments Case used on the record. With some experience on the road, Case’s band now knows how to simulate that mysterious country-gothic atmosphere with a few plucks on the banjo and a thump of the stand-up bass.

Two of Case’s old pals from the Chicago alt-country scene, Kelly Hogan and Nora O’Connor, who are fine vocalists in their own right, sang harmonies Thursday. More than just singing simple “oohs” and “aahs,” Hogan and O’Connor often added complex gospel-style counterpoints to Case’s songs.

In between her dramatic and often thrillingly evocative songs, Case proved that she is no diva by shifting into silly mode and telling several strange jokes involving Peeps candy. (Her fantasy of her own funeral: “Hot-glue-gun Peeps all over me.”)

In the middle of one of her most haunting songs, “Wish I Was the Moon,” Case accidentally continued singing at a point when a pedal-steel guitar solo was supposed to begin. Embarrassed at her gaffe, she mimicked sticking a knife into her stomach. Hogan walked over and hugged Case consolingly, doing a little dance with her in the middle of the song. Of course, it was a forgivable mistake — the sort of moment that makes Case seem more like a regular person, in spite of her extraordinary talent.

See my photos of Neko Case (and a couple of Matt Pond PA).

Toumani Diabate’s Symmetric Orchestra

Toumani Diabete is amaster musician from Mali who plays the kora, a sort of harp with two sets of 21 strings. He says he is the 71st generation of his family to play the kora! I’d seen him perform in Chicago once before, as part of Roswell Rudd’s group, but seeing him lead his own group March 22 at the HotHouse was an exceptional pleasure. The music was both intricate (I could hear similiarities to American blues as well as the minimalist patterns of Steve Reich and Philip Glass) and lively. The group got a good number of people dancing by the end of the show. It was especially cool to see the musicians taking part in playful musical exercises, with one musician playing a melody and challening one of the others to repeat it, note for note. Diabete will return to Chicago for a concert in Millennium Park this July.

See my photos of Toumani Diabate’s Symmetric Orchestra/

SXSW 2007, DAY FOUR

SATURDAY, MARCH 17

THE TRUCKS at Snocap day party – One of the hyped bands of the moment, The Trucks came off as a gimmicky novelty, but they were fairly fun to watch. What’s with the deliberately ugly look for that one chick with the missing tooth? That’s part of the shtick, I guess. www.thetrucks.netPHOTOS OF THE TRUCKS

CALLA at Snocap day party – I sort of like Calla’s records, but they never seem to rise above the level of pretty good. I keep waiting for a big breakout chorus or guitar solo, but it never comes. I felt the same way about the live show. www.callamusic.comPHOTOS OF CALLA

BERMUDA TRIANGLE at Platform day party – I plead another case of SXSW amnesia. They’re from Norway. There’s a girl who sings. There’s a guy who sings, too. I think I liked it. www.myspace.com/norwegianbermudaPHOTOS OF BERMUDA TRIANGLE

THE SILENT YEARS at Habana Calle 6 Annex day party – I didn’t know anything about this group, but I was blown away by the energy. Will definitely seek them out. www.thesilentyears.comPHOTOS OF THE SILENT YEARS

BANG GANG at Habana Calle 6 Annex day party – The mp3 by this group from Iceland caught my attention. In concert, they were odd, in a “Sprockets” sort of way. The lead singer, Bardi Johansson, delivered SXSW’s most stilted and strange stage banter, urging audience members to take part in an Icelandic party game of spitting on one another’s shoulders. At one point, he remarked (seemingly as a sort of complaint about SXSW): “Too much notes. Everybody’s jumping on the stage and playing too much notes. I think I’ve never seen anybody running around and jumping in my life.” Another comment: “The music sucks, but you have to be on drugs to know it.” And before playing “Stop in the Name of Love” and “Locomotion,” he announced: “We’re going to play an old American standard which you probably don’t like.” The songs featured a peculiar stop-and-start energy, and Bang Gang came off as a highly promising band, but their set was pretty darn short – just four songs or so. And then they were off.

Bang Gang also had one of the most absurd press releases this year on the SXSW Web site, including this description of Johansson: “He outfits as a producer, a fashion designer, director, musician, singer and composer. In Milan he has a full size statue, in Iceland he is the dark prince who walks the nights alone and in France he is hailed as the next Phil Spector. He depicts the musical side of fashion house Emporio Armani, cosmetics brand Yves Rocher and car make Citroën in there television ads. A renaissance man in the most true form he is obsessive, narcissistic, hung-over, mad and romantic. Oceanic and limitless, his songs sound much too real and much too beautiful. Bardi Johannson is an anomaly that blends together Rock’n’Roll and sadness to create a sound that bellows through your body like a misremembered dream and for that he makes us stop in the name of love.” www.banggang.net (Incidentally, there was another band at SXSW this year called Bang Bang Gang.) – PHOTOS OF BANG GANG

IRINA BJORKLUNDE was playing in the Habana Calle 6 Annex as part of a tribute to Nick Drake as I walked out of the Bang Gang gig. She was playing the saw, an instrument you don’t hear often enough, and she did a lovely Drake song. (Sorry, I’m terrible with his song titles, so I don’t recall which one.) www.irinabjorklund.comPHOTOS OF IRINA BJORKLUNDE

THOM HELL at Platform day party – I caught a couple of songs by this Americana singer from Norway – well, I guess it isn’t correct to call it Americana if you’re from Norway, but that’s what it sounded like to me. Pretty good stuff, enough to make me want to hear more, but I was in a hurry. Marit Larsen, who was next on the Platform party schedule, was playing in Hell’s backup band, and a couple of Larsen fans in the crowd held up a sign declaring that she’s an addictive drug. – PHOTOS OF THOM HELL

BUZZCOCKS at Snocap day party – During my foray over to see Bang Gang, I missed Apollo Sunshine at the Snocap party, which was reportedly one of the highlights. The Buzzcocks were an excellent way to end the party, though. The Buzzcocks are the Buzzcocks; what more can you say? Those short, punchy songs still stand up amazingly well, and the band was as fun and energetic as ever. I was standing near Steve Diggles when he spat on the speakers, where the glob of saliva remained for the rest of the concert. www.buzzcocks.comPHOTOS OF BUZZCOCKS

LEE “SCRATCH” PERRY on the SXSW Live stage – This was a rare chance to see one of the legends of reggae and dub music. I’m far from an expert on his music, but I enjoyed it, especially his jabs at the current political situation. A short, wizened guy, he was dressed in an outfit that was glittering with all of the shiny objects that had been pasted and sewed onto it. – PHOTOS OF LEE “SCRATCH” PERRY

WAX FANG at Mohawk Patio – Another band with an mp3 that attracted my attention. And they were playing at the showcase for KEXP, one of my favorite stations to hear on the Web. Wax Fang opened its set with a delicate little piece of guitar playing and singing by the vocalist, with the bassist and drummer patiently watching. And then, in the middle of that song, the rhythm section erupted into a dramatic blast of noise. The pattern repeated with other Wax Fang songs – tunes with an indie-pop sensibility melded with arena rock bombast. The band is from Louisville, Ky., so of course, I thought of My Morning Jacket. The guitarist even played a couple of wailing Theremin solos. www.waxfang.comPHOTOS OF WAX FANG

BRUTE FORCE AND DAUGHTER OF FORCE at Creekside EMC – I was hoping to see Field Music in this time slot, but the line was long and didn’t seem to be moving, so I bailed on that show. I’d heard a quirky piano song called “Space Mission” by Brute Force and Daughter of Force, which sounded sort of like a demo for the Only Ones, but didn’t know what to expect. This was the strangest thing I saw all week. It felt like I’d stepped out of SXSW into some alternate universe. The act turned out to be an older guy with bushy eyebrows calling himself Brute Force playing piano and singing, with his twenty-something daughter on vocals. They did odd novelty tunes about sandwiches and space travel. It was hard not to get the impression that this was just some guy who played weird songs for his family and somehow persuaded his slightly embarrassed daughter to get up on the stage with him for a lounge act. As I learned later from reading about Brute Force on the SXSW Web site, he used to be a member of the Tokens and he originally recorded some of these songs for Apple Records in the late 1960s (the Beatles were among his fans). It was a refreshing change from everything else. Peculiar but charming. brutesforce.comPHOTOS OF BRUTE FORCE AND DAUGHTER OF FORCE

ASTEROID #4 at Latitude 30 – Now here’s a band that lives reverb and darkness. The lights were barely on at all as Asteroid #4 played (it was hell to photograph, though I did dig the atmosphere it created) and they never turned off those echoing effects. It was a terrific space-rock jam, complete with a Rain Parade cover. As Asteroid #4 finished, the band announced, “Thanks. We’re the Black Angels.” www.asteroid4.comPHOTOS OF ASTEROID #4

THE BLACK HOLLIES (with guest appearance by THE DANSETTES) at Uncle Flirty’s Loft – A good ‘60s-style rock band… Other than that, I don’t remember much. www.theblackhollies.comPHOTOS OF THE BLACK HOLLIES /PHOTOS OF THE DANSETTES

OX at the Ale House – This alt-country band from British Columbia does a great cover of Cheap Trick’s “Surrender,” and that’s what was playing as I walked in the door. Most of their other songs seem to be about cars, including one about the El Camino. It was all pretty good, though it’s fairly typical stuff as far as alt-country bands go, nothing earth-shattering. www.oxmusic.wsPHOTOS OF OX

THE WHIGS at Blender Bar at the Ritz – I showed up early at this venue to see the Saints in the last time slot. As I walked in, DANIEL JOHNSTON AND THE NIGHTMARES were finishing their set. The last half of the last song (all that I heard) seemed more confident and Modern Lovers-ish than the shaky solo concert I saw by Johnston a couple of years ago. I didn’t know much about the Whigs other than the mp3 I’d heard, but the group had a lot of young female fans in attendance, who sang along with many of the words. They put on a very good show, and something about them reminded me of other bands from their hometown, Athens, Ga. www.thewhigs.comPHOTOS OF THE WHIGS

THE SAINTS at Blender Bar at the Ritz – These Australian punks were back for a reunion show, which I saw at the same time I could have been watching the Stooges over at Stubbs (but that would have required a long wait in line and no guarantee of getting in). The Saints song I know best, “Stranded,” sounded great. The rest of the set was good, too, but I was starting to lose it by this point; I could feel myself falling asleep even as I stood there. It was a fine concert, though the Saints did not seem to have the same level of excitement as some other bands from that era. www.saintsmusic.comPHOTOS OF THE SAINTS

CLICK HERE FOR A GUIDE TO ALL OF MY SXSW 2007 PHOTOS.
READ MY OTHER SXSW 2007 BLOG ENTRIES:
DAY ONE
DAY TWO
DAY THREE

SXSW 2007, DAY THREE

FRIDAY, MARCH 16

ANDREW WINTON at Australian Barbecue day party – I heard just a couple of songs by Winton as I took advantage of the free food. It sounded a little too much like mellow pop for my tastes, though the guitar-playing was good. www.andrewwinton.com

THE BUZZCOCKS on the SXSW Live stage – I know it’s considered cool for punk rockers to play short sets, but this concert was ridiculously short. I walked in a few minutes after it started (on a new stage at the Austin Convention Center, where concerts were broadcast for Direct TV) and caught only two and a half songs. Sounded good, though. (See March 17 for my second Buzzcocks experience of SXSW.) www.buzzcocks.com

WINTERKIDS at the Day Stage Cafe – Another case of SXSW amnesia. What I heard sounded pretty good, but don’t ask me to describe it now. www.winterkidsmusic.comPHOTOS OF WINTERKIDS

SOMEONE STILL LOVES YOU, BORIS YELTSIN at the Day Stage Cafe – I liked the record by this band last year, and they came off well in this short acoustic concert, playing strummy guitar songs that were more than a little catchy. And one of them executed a perfect stage dive, which was amusing and ridiculous given the room they were playing it. No damage to the guy’s guitar. www.morawk.com/sslybyPHOTOS OF SOMEONE STILL LOVES YOU BORIS YELTSIN

BLACK LIPS at Club DeVille day party – Energetic garage rock. Even when they count off the beat at the beginning of a song, the “1, 2, 3” sounds a little punk. One of the guitarists threw up a little food in the middle of one song and kept playing. www.myspace.com/theblacklipsPHOTOS OF BLACK LIPS

WALTER MEEGO at Club DeVille day party – This Chicago band played electronic pop music overlaid with loud and sometimes atonal guitar lines. The group arrived in Austin for a gig early Thursday afternoon, after playing the night before at Chicago’s Metro nightclub. “It’s a wild ride,” lead singer Justin Sconza told me later. “I got up at 5 in the morning, flew here, and played right away. It just doesn’t stop.” www.waltermeego.comPHOTOS OF WALTER MEEGO

IGGY POP AND THE STOOGES interview at Austin Convention Center – I walked in a little late (too late to get any photos), but heard most of this fascinating and funny interview. It was just weird to hear Iggy talking with Ron and Scott Asheton about the days when they all lived in a house together (the “fun house” that inspired the album title), a bunch of utopian outcasts. At one point, when they were discussing the food they used to make at the house, Pop noted, “Waffles are good.”

Asked how the Stooges got publicity, Pop recounted: “There was something called 16 magazine, and it was run by a very horny lady. They sent me to her apartment to see if we hit it off.” After a pause, he added, “And I was on the cover.” (Audience laughter.) “It was professionalism only.”

Pop said the song “No Fun” was inspired by a combination of the “no, no, no” in the Rolling Stones’ “Satisfaction” and the “fun, fun, fun” attitude of the Beach Boys, with the structure of Johnny Cash’s “I Walk the Line.”

He said his stage antics were inspired by the dancing he saw in Chicago clubs when he was gigging as a blues drummer. “I had never seen such raw sexuality than I saw in the blues dancing,” he said, adding that he was also inspired by Big Bird.

YOU AM I at Habana Calle 6 Annex day party – I keep hearing raves about this Australian band, which recently got a U.S. deal with Yep Roc. When I’ve heard their recordings, I though they were pretty good punk garage-rock, but it didn’t blow me away. I walked into the middle of this show and saw a few songs by You Am I. The energy and antics of the live concert was pretty amazing. I’ll definitely have to dig deeper into You Am I. youami.com.auPHOTOS OF YOU AM I

NELLIE McKAY at Exodus – This show got started late, and it was uncomfortably crowded in front of the stage. (It was also way too dark for proper photography.) When McKay came out at last, she brought some books of sheet music with her, and sat down at the piano, with all of the informality of someone trying out jazz standards at a friend’s house. It was a charming performance, though a little erratic at times. She closed with a medley of several songs she has recorded about cats and dogs, drawing the biggest audience response of the night. www.nelliemckay.comPHOTOS OF NELLIE McKAY

DANNY SAUL at the Hideout – This English singer-songwriter played some excellent acoustic guitar, including instrumental passages of epic length. His singing was OK, though nothing remarkable, but his dark songs were intriguing. He seems like a talent worth watching. dannysaul.comPHOTOS OF DANNY SAUL

AMY WINEHOUSE at La Zona Rosa – Perhaps the one emerging musician at this year’s SXSW who who seems destined for actual commercial stardom. This English soul singer who wouldn’t look out of place alongside Christine Aguilera or Lady Sovereign, but she sounds more like a throwback to the Motown and Stax records of the 1960s. Backed by the talented Dap-Kings, Winehouse showed off a powerful voice Thursday night, as she danced teasingly, reaching down to pull up her low-slung blue jeans. She drank from a rum and coke even as she sang about going into rehab, and closed with a cover of a Zutons song. www.amywinehouse.co.ukPHOTOS OF AMY WINEHOUSE

BEDROOM WALLS at Club One 15 – One of the main instruments in this band’s lineup is the glockenspiel, so you knew it was going to be a little twee, but the lead singer/guitarist was pretty energetic as he leapt out the stage. I liked this, though I have a partial case of SXSW amnesia about the details. www.bedroomwalls.comPHOTOS OF BEDROOM WALLS

INSTITUTO MEXICANO DE SONIDO at The Rio – This was a group that intrigued me even though I had only one snippet of an mp3, some 27 seconds, to go on. It was enough to clue me in on the fact that the “Mexican Institute of Sound” (as they’re known in English) samples interesting old records. The duo was also lively on stage, wearing furry tails. I approach techno music and hip-hop with a little skepticism – it takes something special to win me over. And this band was special. www.myspace.com/institutomexicanodelsonidoPHOTOS OF INSTITUTO MEXICANO DE SONIDO

THE WOGGLES at Habana Calle 6 – Wearing uniforms of the sort once worn by Paul Revere and the Raiders and similar 1960s bands, the Woggles played one of the liveliest shows this year at SXSW. The blend of ‘60s garage rock and ‘70s punk was nothing groundbreaking, but man, it was fun. www.thewoggles.comPHOTOS OF THE WOGGLES

CLICK HERE FOR A GUIDE TO ALL OF MY SXSW 2007 PHOTOS.
READ MY OTHER SXSW 2007 BLOG ENTRIES:
DAY ONE
DAY TWO
DAY FOUR

SXSW 2007, DAY TWO

THURSDAY, MARCH 15

MARIT LARSEN at the Day Stage Cafe – This cute, little folkie from Norway was my first concert of the day. Her music seemed charming on first listen, though I’ll have to hear it more to see if it has staying power. She has some potential to attract alt-country and bluegrass fans in the U.S. – PHOTOS OF MARIT LARSEN

THE STORYS at the Day Stage Cafe – This band from Wales performed some rather bland acoustic pop music that was too adult contemporary for my tastes. Inoffensive but instantly forgettable. www.thestorys.co.ukPHOTOS OF THE STORYS

FIONN REGAN at the Day Stage Cafe – Fionn Regan put out a good record last year, one of the import CDs I purchased in my year-end shopping frenzy. He impressed me even more in person than he does on record. His delicate finger-style guitar playing was lovely, and so was his voice, and his pensive, sensitive songs seemed ready for a bigger audience. – PHOTOS OF FIONN REGAN

HEADLIGHTS at Flamingo Cantina day party – I talked with the members of Headlights a couple of years ago for a short article, but to be honest, I don’t remember much about their music from that time. It seemed like good but somewhat typical indie pop. The Champaign band sounded damn good this year at SXSW, perhaps a sign of growth (or maybe I just overlooked how good they were before). Like many bands at SXSW 2007, Headlights had a bit of a Broken Social Scene or Arcade Fire vibe, playing multilayered tunes that take on a frenzied emotional intensity during live performances. I liked Headlights a lot. www.headlightsmusic.comPHOTOS OF HEADLIGHTS

TALLY HALL at Bourbon Rocks day party – I went to this party, hosted by Found Magazine, in the hope of seeing Okkervil River, but the schedule had changed and I arrived just after Okkervil finished playing. The beer was free, so I stuck around for most of the show by Tally Hall, a bunch of nerdy-looking guys in white shirts and ties who played songs reminiscent of Queen, Oingo Boingo and, um, Gentle Giant? I heard some interesting harmonies and musical patterns, fairly sophisticated stuff, though it was all a bit too 1970s kitschy for my tastes. www.tallyhall.comPHOTOS OF TALLY HALL

THE PIPETTES at Flamingo Cantina day party – One of the most hyped acts at SXSW. Do they deserve the hype? Well, at least they look great. And I thought they sounded pretty good, too. There’s nothing wrong with reviving the 1960s girl group sound and adding some saucy contemporary UK attitude to the lyrics. I haven’t heard their record yet, and I wonder if it has much staying power, but would I see them again in concert? Heck, yeah. ) www.thepipettes.co.ukPHOTOS OF THE PIPETTES

(One of them mentioned seeing THE DANSETTES the night before, another girl-group revival band. The Dansettes sound great, and I wish I’d seen them beyond the one song they performed with the Black Hollies on Saturday. I wonder how the Dansettes will stack up against the Pipettes? www.thedansettes.com)

ATTIC JAM at La Zona Rosa – I kept wavering on whether to attend this show. Hosted by RACHEL FULLER, who happens to be Pete Townshend’s girlfriend, it was sure to feature an appearance by Townshend, plus some “special guests.” How long would the line be? How much would Townshend actually play? I decided I had to see at least some of it, and I was able to get in fairly easily (it’s a big venue), though I got kicked out of the photo pit. Townshend opened the show with a solo acoustic performance of the Quadrophenia song “Drowned,” which made it more than worthwhile. He was followed by WILLY MASON, who played a few songs, with Townshend playing along on at least one. MIKA, who is big in Britain right now, played a couple of piano ballads, including a cover of “Everybody’s Talkin’” with Townshend joining in a little. Fuller played some of her own piano music, which was pleasant enough but unremarkable. Then came JOE PURDY, doing more soft acoustic music. None of this was bad, exactly, but given the fact that it was a showcase featuring the guitarist for one of the most explosive bands in rock history, it was all a little bit on the boring side. Martha Wainwright was scheduled to come up soon, and I don’t care much for her music, so I decided to head out, even though there was a promise of more Townshend music at the end of the three-hour time slot. (I later read that he came back for a couple of songs.) The concept of these “Attic Jams” is OK, but I’d rather see a full Townshend concert or maybe a Townshend jam with some of the more interesting musicians at SXSW. Imagine if he’d played with Iggy Pop – or Daniel Johnston? Now, that would have been memorable. – PHOTOS OF THE ATTIC JAM with PETE TOWNSHEND, RACHEL FULLER, WILLY MASON and JOE PURDY

I ended up spending the rest of the night at Mohawk and Mohawk Patio, which were hosting the showcase for the Secretly Canadian label. Somehow, because of scheduling changes and confusion, I missed one of the Secretly Canadian bands that I wanted to see the most, the Besnard Lakes, but at least they’re coming to Chicago soon.

DIRTY PROJECTORS at Mohawk – This was a weird one, avant-garde rock with a little math rock thrown into the mix? There were some complex guitar melodies and vocal harmonies, all played with a fair amount of emotional intensity. It’s not the sort of music you can fully absorb right away, so I’m not sure how much I liked it. Challenging, and potentially very good. myspace.com/dirtyprojectorsPHOTOS OF DIRTY PROJECTORS

I LOVE YOU BUT I’VE CHOSEN DARKNESS at Mohawk Patio – I’ve never really gotten into this band, but their music (sounding a lot like the Smiths, as my brother remarked) sounded pretty good this time. I left midway through their show to run indoors and catch… www.chosendarkness.comPHOTOS OF I LOVE YOU BUT I’VE CHOSEN DARKNESS

FRIDA HYVÖNEN is one of the most interesting new talents to emerge out of Sweden, and I had the pleasure to interview her for the March/April issue of Punk Planet magazine, but I’d missed her two concerts in Chicago. Her piano playing is a little simple, but it suits her songs well enough. The lyrics are starkly personal at times, strange at others. She even played a quirky little song about Shanghai. She exudes her singular personality in concert, and was pretty animated for a piano player, leaning back in odd ways. “I think I love you,” she told the audience, and after a pause: “I know, that’s a cheap shot.” She’s beautiful, too, with the looks of a Swedish movie star. www.fridahyvonen.comPHOTOS OF FRIDA HYVÖNEN

BISHOP ALLEN – Alas, I have to say that Bishop Allen is one of several bands I saw at SXSW that made only a fleeting impression and then disappeared from my brain. I liked them. I can’t remember what they sound like. I promise to listen again. bishopallen.comPHOTOS OF BISHOP ALLEN

RICHARD SWIFT is a talented singer-songwriter who switches between piano and guitar. He strikes me as the indie-rock kin of Rufus Wainwright and Edward Harcourt. He makes some of the funniest faces while he plays. His closing song was the catchy “Atlantic Ocean,” featuring backup singing through a Vocoder, giving it an ELO feeling. www.richardswift.usPHOTOS OF RICHARD SWIFT

While all of that was going on outside, I caught snatches of Catfish Haven and the excellent Chicago rocker DAVID VANDERVELDE in Mohawk’s crowded indoor venue. www.davidvandervelde.com LADYHAWK, who played next in the same room, is an excellent band, but I’ve seen them a few times, so I wasn’t going out of my way to see them again at SXSW. Watching them through the opening in the bar, it was hard not to get excited. (Britt Daniel of Spoon was standing next to me, watching, too.) As the band completed it set, I worked my way into the room. This was one of the most enthusiastic crowd responses I saw at SXSW. After the Ladyhawk guys finished flailing around on the stage, the crowd chanted, “One more song! One more song!” Ladyhawk came back for another tune, though it’s unusual for SXSW acts to do encores unless they’re the last band of the night. Ladyhawk’s record is good, but the music really comes alive in concert, as the band pounds away at those riffs with an abandon that resembles My Morning Jacket’s live shows. A couple of people who had wandered into the bar, unsure of which band was playing, said, “Who are these guys?” www.ladyhawkladyhawk.comPHOTOS OF LADYHAWK

I caught a few songs as OKKERVIL RIVER began playing outside, then went back inside for EVANGELICALS, a group from Norman, Okla. (Okkervil is great, one of the best live bands around, but I was motivated by the desire to hear something new.) I’ve had trouble figuring out exactly what kind of music Evangelicals plays; their record is diverse, strong and hard to categorize. Evangelicals decorated Mohawk’s small stage with the silvery leaves of fake plants and some green tubes containing electric lights. Lead singer/guitarist Josh Jones was wearing just one shoe, and he had nylon stocking on underneath his torn jeans. The searing set climaxed with the trashing of the drum kit and the smashing of a guitar. Jones held the broken remains of his guitar aloft, and someone yelled, “Encore! Play that thing!” myspace.com/evangelicals It was too late for an encore, but I caught another two songs by Okkervil River out on the patio before heading back to the hotel. – PHOTOS OF OKKERVIL RIVER /PHOTOS OF EVANGELICALS

CLICK HERE FOR A GUIDE TO ALL OF MY SXSW 2007 PHOTOS.
READ MY OTHER SXSW 2007 BLOG ENTRIES:
PRE-SXSW SHOWS
DAY ONE
DAY THREE
DAY FOUR