2007, Jul-Sept

Looker; The Shondes; Mystery Family
@ Lucky Cat
New York, NY - September 29, 2007

Despite a bad sound set-up and tech problems, the power pop and punk quartet of Looker displayed fiery prowess and a superb knack for sharp hooks and catchy melodies. And where did this band come from?! Did anyone know there was this ready-for-prime time rock n roll band about in New York City? These kids for real.
The Shondes mix straight up rock with a fiddle and it's an interesting brew. Was the set perfect? No. But it's working with something good.
Mystery Family are a Riot Grrl inspired band that had their own share of string problems and whatnot but their cover of the Breeders showed they have the right roots in mind.

Due to the poor lighting of the Lucky Cat and the cheapness of Sonic Parthenon equipment, there are no video or pictures for this gig. Drag.

Okkervil River; Damien Jurado; Jonathan Meiburg
@ Webster Hall
New York, NY - September 28, 2007

Okkervil River has found a way to bridge symphonic pop with Texas blues and yet has somehow also found a way to not sound poppy or bluesy at all. Led by the enthusiastic if a tad trippy Will Sheff, Okkervil can belt out an array of tunes that invoke something of an art house Roadhouse. At the same time, they can occasionally cross over into dullsville, but that is rare and fleeting. "Unless It's Kicks" is the best example of the band at its best, catchy pop doused in a helpin' of Austin sensibilities. But then there is "Our Life Is Not Like A Move Or Maybe" which, in just a little over a month, has established itself as one of the best singles of the decade and no hyperbole necessary. This is the most defined record of ethereal Rock n Roll that has been heard in some time, and live it gets the full blown industrial treatment - musical showmanship, emotional purity, and commanding stewardship by Mr. Sheff. After the performance of the song, it was necessary to take a step back, find a seat, and inhale in what was just witnessed. It was that good.

Damien Jurango is a melancholy acoustic guitarist and solo performer who renders a complaint free performance, but when he takes a step up with a more pop-infused guitar hook, there is real songcraft afoot.
Okkervil River's keyboardist, Jonathan Meiburg, opened the night with a short set, also solo, with a banjo and then a little electric guitar. As melancholy as Mr. Jurango, Meiburg's banjo is the key melodymaker here and it serves its function well. A nice little trip to Texas and back.

Metric; Crystal Castles
@ Webster Hall
New York, NY - September 21, 2007

When Emily Haines wasn't talking about giving up the music life to do cooking shows, she was leading her ferocious dance-rock band Metric in a blazing performance at Webster Hall. The half-Canadian, half-American quartet have a few albums that, while good, suffer from filler. Live-wise, the filler becomes substance and the quality becomes the stuff of pure excellence. The band's 3 best songs - "Monster Hospital", "Combat Baby", and "Dead Disco" - shook the club. I mean it. The club literally shook. The crowd would have been dancing all performance long too if it wasn't for the hypnotic light show (it cannot be underplayed how perfect the lighting was) and the presence of Ms. Haines. To sum up Emily in a sentence: She's Madonna if Madonna was a talented musician. In her little cave woman white tiger outfit, she held the audience in the vice-grip of her aura. The masterful bridge between the main set and the encore consisted of Emily making the crowd sing and clap the beat to one song. Who can do that?!
Crystal Castles are a true club-rock trio: dark, a little scary, neo-party monsters. The jumpy lead singer, for whatever reasons, gave off the following vibe: a child, Anime, lesbian. All in one. Who can do that?!

M. Ward; Victoria Williams; McCarthy Trenching
@ 7 World Trade Center Park
New York, NY - September 18, 2007

Across the street from the remains of the Twin Towers, New York City this week is trying something new - rock n' roll live from the break of the city's heart. Last night, transplanted Minnesotans the Hold Steady did their best, and tomorrow night, the legendary Nick Lowe will sweeten the pot, but tonight belonged to the thoughtful, evocative, and graceful Matthew Ward. Ward's blend of folk, country, and blues is distinct, particularly when he's singing in that shadowy, haunted voice that sounds like it's coming over a transistor radio from 1934. Those who always seem to want to point out Ward's penchant for surf rock sounds neglect to mention that the surf Ward has in mind is on a rainy, cold beach. Put this all together and you have a complete, accomplished musician. It also helps that he has a superb backing band that includes two drummers.
Imagine Norah Jones, older, wiser, and a little spaced out, sitting on a rocking chair on a porch somewhere along the Appalachians and you have Victoria Williams. Seeming to be the last of the red hot liberal mountainfolk, Williams' music takes sharp but understandable turns from country music to a span of Jazz, most notably old time Hot Jazz, which just can't be beat. Her quirky voice never sounds like the aforementioned Jones, but more like the songstresses of old, notably Billie, right up to Katherine Whalen of Squirrel Nut Zippers.
McCarthy Trenching is from Omaha and boy, do they sound like it. What does that mean? It means they sound just fine - their penchant for alt-country smooth but slick - but it's also not very exciting.

Apples in Stereo; Aqueduct; The Old Soul
@ Music Hall of Williamsburg
Brooklyn, NY - September 16, 2007

Robert Schneider is one of the most likable men in rock, a verbose goof ball who combines psychedelic stylings with power-chord rock n' roll. His band, the Apples in Stereo, are truly in the vein of the Flaming Lips and other neo-psychedelic bands, but it is that consistent yearn for anthemic rock that helps the Apples stand apart. Live-wise, the power really shines and, at least on this night, Robert kept the talking to a minimum, focusing instead on bringing the house (pretty crowded but far from sold out) down, which he more or less succeeded at.
Both Aqueduct and the Old Soul were complimentary power-pop bands. The former, from Seattle, sounded, at times, more 80's - especially when using some electronic gizmo. Also led by a likable (and notably unglamorous) frontman, Aqueduct would sometimes lose their way but they managed to bring it back to where it had to be time and again. The fun, rollicking cover of R. Kelly's "I'm a Flirt" was a high note. The Old Soul, from Toronto, are a more eclectic brand of power-pop rock. The one unifying theme in all their songs seems to be a subtle ragtime-ish swoon. All 3 bands had a good time but these guys really seemed to be having a good time. Also, a little anthemic but again, with a twist.

Carina Round
@ Sound Fix
Brooklyn, NY - September 16, 2007

There are two ways to think of Carina Round and the two ways do not contradict each other: Joni Mitchell and PJ Harvey defied science and had a baby and out popped Carina Round. That's one way. Another way is to ask you if you remember the mid-90's when a flock of female singer-songwriters seemed to really come into their own. On the one end were alternative rebels like the aforementioned Harvey and Ani DiFranco, and on the other were the more mainstream, pop-oriented acts like Sarah Mclachlan and her Lilith Fair cohorts. In the middle of that wide chasm, lies Carina Round. Think of Sarah Mclachlan's best work, Fumbling Towards Ecstasy, dirtied up a bit by Polly Jean, and this is the music put forward - strikingly and successfully - by Carina. Carina's vocal talents are fascinating - she can sing pop songs dearly but she can thrown her voice around like a punching bag, creating effective alternative sounds. Her ability to scream a note without really moving her lips is a bit hypnotic to watch.
This night, in a stripped down set of acoustic guitar and one electric guitar, Carina's music did not have the full register that it does on her records but it offered a simple, basic examination of the pop-craft she's weaving. It is this kind of pop-music with a knife edge that needs to be pushed and played and popular.

Les Sans Culottes; Ziaf; Nicki Jaine
@ Galapagos Art Space
Brooklyn, NY - September 14, 2007

It's become old hat for LSC by now but they've added a cover of "My Sharona" to the repertoire. It was a bit disturbing to see them without one of their guitarists (anything less than the full 8 members is just not right, people!) but they still sounded fine. Even when they had tech problems (not their fault), they didn't break character. And even with the rather light and distant crowd, they didn't miss a beat.

Ziaf is sort of like Les Sans but focused on one major French pop figure: Edith Piaf. A bit grittier and at least 1/3 more authentically French than their counterparts, this trio covers a range of sound from go-go rock n roll to rockabilly but all under the umbrella of Piaf. Magnifique.

Nicki Jaine is a purveyor of German Cabaret music. Armed with a black guitar, black dress, and on occasion a musical saw (!), Miss Jaine - and her accompanying accordion player - did covers of "Somewhere Over the Rainbow" and "While My Guitar Gently Weeps" as well as of tunes done by Marlene Dietrich. This was a real treat, that rare moment when something German proved to be gentle, warm, and sweet. Like a Bavarian chocolate cake. Or something.

Craig Finn
@ Barnes & Nobles Union Square
New York, NY - September 13, 2007

This shouldn't count as a gig, I know. Craig only played a couple songs and that was it. It shouldn't count. But you know what? You can't stop me. So this is a gig review. The Hold Steady leader sang one oldie and one song rejected for the final cut of Boys and Girls in America. And in between, he sat for a chat with Katherine Lanpher, the one time co-host of Al Franken's radio show, and now New York culture personality. Alongside Craig was Nigerian novelist Chimamanda Ngozi Adichie, making for an eclectic and enlivening hour.

The Yarrows; Addie Brownlee
@ Mercury Lounge
New York, NY - September 9, 2007

The last time the Yarrows played the Merc, they sounded better than ever and tonight they continued the pattern. The songs are as complete, full, and tenderly ripe as they can be but if anything, this show showcased the musicianship of the band, each excelling at their instruments in a crescendoing pace. It reached a climactic, intense fury - a bottleneck of sound that surged forward. From the opening strands of "Lie Awake" to the very end, this band is making something good happening in the Mid-Atlantic states.

Addie Brownlee plays modern country music which, while not very sonically exciting, is made better with her sense of wryness and a free-spirited attitude towards the music. Also she has a nice face, which makes it hard to criticize her. And the cover of "Dancing Queen" was unexpected and fun (mostly because of the outstanding vocals) If I could make a suggestion, it would be for her to use her backing band that includes a dobro and pedal steel player, and an upright bass player, and make some good roots rock and traditional country-blues music. The talent is there. A lot of talent. It just needs to be redirected as I see fit.

The Crayons
@ Cake Shop
September 9, 2007

I stopped in the Cake Shop en route to the Yarrows and came upon a free all day kid metal punk hardcore fest and caught this young kid thing. Not the worst thing in the world, a good sense of the rawness which it needs, but also not exactly perfect. It is what it is.
And that all being said, I'm going on record right now: Enough with the kids bands. Work in your garage till your 18. And then come out to play.

Vampire Weekend
@ Music Hall of Williamsburg
New York, NY - September 8, 2007

Where the heck did these kids come from? Were they even in an existence as a band a year ago? They don't even have an LP out yet (it comes out next January). Just a couple months ago, they were opening for the Thermals at Maxwell's. Yet here they are, Vampire Weekend, headlining a sold out show at the brand spanking new Music Hall of Williamsburg (so brand spanking new that the wood isn't polished yet). And not only was the place packed, but the several hundred in attendance were singing along with almost every song and pretty active towards the front and even on the sides. One would have no idea how relatively new this band is and would therefore be flummoxed by the rapidity with which they are climbing. In fact, this writer does have an idea and he's still flummoxed.
As for the music itself - if you like the Police, you'll like Vampire Weekend. But if you can only take so much Police, you will only be able to take so much Vampire Weekend (how poetic is it that this band busts out in the year that the Police reunite...well maybe not poetic, but something...). My favorite tune of theirs, "Cape Cod Kwassa Kwassa" (video below), is more Paul Simon Graceland and mid-late Talking Heads than the Police, but a few twists and turns aside, this is a pleasant, white original ska affair.
And the funniest part of all...they only played for 45 minutes. They don't even know enough songs to play for an hour!

Langhorne Slim; Arizona
@ Europa
Brooklyn, NY - August 31, 2007

Langhorne Slim has been pleasing the local scene and elsewhere with his country-blues-folk-rock for some time now but only now is this writer finally seeing him live. The records are more than satisfactory but they don't do the live show justice. Slim and company blew the crowd away tonight with an enthusiastic, well-spun series of rockers balanced by a few singer-songwriter ballads. It's rare to see such menace woven from an acoustic guitar. Having an upright bass, a classic electric organ, and an excellent drummer behind him certainly cemented the goods for ol' Langhorne. What a show!

Pics here.

Arizona started off with some roots-rockish and Zeppelin-esque riffs, eventually threw some power chords in the mix, and wound up sounding like a decent middle of the road contemporary rock band. Not quite sure where they want to go with their sound, but at least they sound good in the meantime.

VHS or Beta; Walter Meego; Team Robespierre
@ Studio B
Brooklyn, NY - August 30, 2007

Boy if I had a nickel for every Louisville, Kentucky-based dance-rock band led by an Asian-American...
VHS or Beta has had some bad hairdo's. But they cut those messes down en route to their first full fledged Brooklyn show. And it was a show that revealed the best and worst of the club-beat sub-genre of rock n' roll. It was plenty of good-time rockin' dance beats but the laptop which the drummer used went on the fritz and the show had to stop. At the second stoppage, with the crowd getting restless, I hightailed it out of there but not before catching "Can't Believe A Single Word".

Walter Meego was the straight up club act of the night, mixing the Pet Shop Boys with rave/techno and typical club music. When they leaned towards the first element, they were pretty solid but overall - as is par for the course with club music - it got tiring pretty quickly. More importantly, the Meego gang are from Chicago, adding the dance-rock element for what appears to be a growing eclectic Windy City scene.

Team Robespierre are named after one of the most intriguing and compelling figures in world history. The band's music, however, is slightly mess compelling. A hardcore punk band with rapid club and electro beats behind them, Team R is probably considered art-punk in some Brooklyn circles but really it's just a bunch of noise. That doesn't mean it's bad, it's just not for everyone. But one word to the moshing hipsters: Take off your backpack when you mosh, you muppet!

Camera Obscura; Last Town Chorus
@ South Street Seaport
New York, NY - August 24, 2007

Night 2 of the Glaswegian's two night stand of free shows was at a packed Pier 17. Again, the band sounded perfect. "Polished" is an almost sterile word but it is apt, apt! Much like Let's Get Out of This Country, there is no filler in the live show. Every song is an ideal gem of blue-eyed Spector-ish songcraft. This is a band ready for the big time. I need to stop this review now before I give myself a sugar overdose.
Last Town Chorus is essentially the work of lead singer and exceptional lap steel guitarist Megan Hickey. A fine voice and an amazing musician, Hickey plays some very provoking Indie pop/alt-country melodies, including a smart, ballad-ized cover of Bowie's "Modern Love".

Camera Obscura; Tiny Vipers
@ Sound Fix Records
Brooklyn, NY - August 23, 2007

There isn't a band cuter, more adorable, than Camera Obscura. And for as cute and adorable as they are, they have equal measurements of talent. They are simply one of the best bands in the world, and the best pop band right now. Their inspirations have never sounded so smooth and flowing, especially on Let's Get Out Of This Country. But in addition to great renditions of the title track, "Tears for Affairs", and "The False Contender", earlier songs like "Suspended From Class" sounded utterly brilliant, as did their little lounge-type cover of Sonny and Cher. The band was a bit overwhelmed by the packed house at little ol' Sound Fix and the accompanying heat and so only played a short set but they made their mark perfectly. The only bad moment was when this writer put the kibosh on lead singer Tracyanne's idea to take the gig to the street, resulting in the label "Mr. Bringdown". I hope she writes a song with that title.
Tiny Vipers are a dark-folk two-piece that are very delicate and somber but you can see a warmth underneath itching to get out. And at the same time, the leader has a Patti Smith quality about her.

The XYZ Affair; Dappled Cities; Via Audio
@ Union Hall
Brooklyn, NY - August 22, 2007

Third time was the charm and I finally caught the fast rising XYZ Affair. First off, any band that begins the night with barbershop quartet harmonies is alright by me. Second, the band's harmonies are the best thing they have going - they have fantastic voices. Third, their two tracks from the recent record that have made the rounds - "Little Fool" and "All My Friends" - are as excellent live as on record but fourth, the rest of the material isn't as solid. It's not bad, but it doesn't have the WOW of those two songs.
Dappled Cities are a Melbourne band doing the power pop thing like XYZ but with more Indie delivery. Not bad but I decided to skip out on the rump of the performance for some food.
Via Audio are a sprinkly, sprightly pop band that also delve into Indie territory, including a very solid Devo-esque trip through some synth. Lots of fun.

The National; The Forms; Takka Takka
@ South Street Seaport
New York, NY - August 17, 2007

The weather toyed with the packed crowd at the South Street Seaport for this free show headlined by one of the most talked about bands in the country. Rain cut short the sets of the opening acts but finally cleared for good for the main event. The National are critics' darlings (and darlings of the Boss as well), and they have a pretty large and loyal fanbase which have come into being after two excellent records, Alligator and Boxer. The Cincinnati-by-Brooklyn quintet take their serious music pretty seriously but they seem to have a good time doing it in their congenial, pleasant way. They aren't so much too-cool-for-school up there as they are committed and concentrated and content. Whether they are doing their nimble, lightfooted numbers like "Start A War", or their dark New Wave-inspired single "Mistaken for Strangers", or their one real rocker, "Abel", the National are a fluid operation and their body of work is fast becoming a canon for this generation. The National are the best band to listen to thoughtfully while walking or driving in the New York night, and bathed in the reflective light of the lower Manhattan skyline, they hit all the right notes.
Despite the short sets, both the Forms and Takka Takka made an impact. The Forms are more or less on target with their brand of near power-popish indie rock. And Takka Takka's indie rock sounded better this time than at their show at Union Hall a few months ago. And if any of this is inaccurate, then clearly the short sets did cause a cloud under the rain.

Scott H. Biram; The Wrong Reasons
@ Luna Lounge
Brooklyn, NY - August 11, 2007

Holy hell...the dirty old one man band that is Scott Hiram Biram is still the same dirty, greasy, Texas barbecued blues/metal machine but he has taken it to a whole other level. Playing for about two hours, Biram crammed in as much blues as he could, taking everything down into the sludge (and at times up to the speed) of true pure grit metal. But things took a sharp turn when Scott started messing around on the guitar, including a stretch or two of a methodical anti-jam, and then devoting a significant chunk of time toward the end to feedback and distortion and increased usage of the bullhorn on his megaphone. It was almost reminiscent of avant-garde art rock. Throw in the fact that he now seems to have a sizable fan base (though the crowd did filter down a bit as the show wore on), and one gets that small, slight sense of a whiff of bigger things to come.
Openers the Wrong Reasons, down from Providence, are a two-piece country-blues-rock outfit that recall roadhouse affairs ranging from Horton Heat to the Ribeye Brothers. Fitting opener, great start to the show.

The Hold Steady; The Big Sleep; The Teenage Prayers
@ Prospect Park Band Shell
Brooklyn, NY - August 9, 2007

Craig Finn is a guy who likes to sing about hoodrats, getting high, bars, parties, Minneapolis, and the Mississippi River. And yet somehow this gets interpreted as being highly literary, as if Colin Meloy of the Decemberists isn't the only literary-minded singer-songwriter with a jarringly off-kilter voice who fronts a very accomplished set of musicians. How literary (last time I use the word, promise) Finn is, is up for debate. But the stories he weaves are compelling. And even more compelling are his frontman antics. And just as compelling are the exuberant antics of his band (particularly the keyboardist whose name I didn't know until recently, and as I am unsatisfied with the name Franz Nicolay, I shall rename him Giuseppe McSorley). And even more compelling than that is the combined joy of the band with the quality of the songs that they play. Put it all together and you have one of the greatest bands in America. I can't recall the last time a bar band was so good and achieved such success.
As soon as the Hold Steady began to climb, the backlash began. But as with most things, I'm about a year to two years behind schedule, so as far as I'm concerned, this is one of the most perfect things out there right now. And everyone knows it, really. Especially those young hooligans known as the Rolling Stones who are having the Hold Steady open up for them next week in Dublin.
Oh, and for all the months (and for some, years) of "they sound like Springsteen!, they sound like Springsteen!", what I wouldn't give to hear these guys belt out "Bastards of Young". Minneapolis ties and all that.
Photos from Dfactor, via Waved Rumor

The Big Sleep have a fitting name. They would have entirely crossed over into snoozeville if it wasn't for their obvious talent-in-waiting. The Big Sleep, unless they were stymied by sound problems, have down all the basics for great rhythms, great backbeats, great songs - but then they don't do anything with it. Where are the melodies? Where are the vocals? What exactly are they trying to do?
I only caught the last couple songs of the Teenage Prayers and I wasn't paying much attention but what I heard wasn't too bad.


The Star Spangles; The Holy Kiss; Woman
@ Cake Shop
New York, NY - August 3, 2007

About 3-4 years ago, the Star Spangles were everywhere. They were on Letterman, they were written up in Rolling Stone, and they played packed gigs to the likes of Little Steven Van Zandt at CBGB, with the Bamboo Kids playing beforehand. Then they sort of vanished. Now in 2007 they are back with a new bass player, a new record, and a string of gigs throughout the city to get their sea legs again. Ominously (or on purpose), they have been playing the midcard on bills in small places like Arlene's Grocery and here at the Cake Shop. The crowd was decent sized (a couple of cute rockabilly girls around for whatever reason) but not packed. Problems immediately set in when guitarist Tommy Volume had string and other tech problems. These problems persisted. Guitars were switched, but problems still persisted. Then the lights went out. I took a break upstairs for about 10 minutes, came back downstairs to find them doing a song with the lights on. The wheels were finally on the road though most of the crowd had left. Then more tech problems for Tommy. Tension, yelling, that whiff of a band about to implode in the air. Then finally, the band belted out "I Don't Wanna Be Crazy Anymore" and called it a night. In a week, they will be on the midcard at Midway with their old friends the Bamboo Kids. Then a week after that, they're headlining the Luna Lounge. I predict by Luna, everything will be back on track.
The Holy Kiss are a San Francisco band best described as bluesy metal. Dressed like they work for an undertaker down in the Delta, they are really hard to pin down. It got tiring after awhile but it's certainly unique and worth a listen. The crowd for them included a couple gals who looked like they were going to an Amish funeral and I kind of hoped they were the band going on after the Star Spangles but they weren't.
Women are an all-male quartet from NYC who do the loud hard rockin' thing pretty well. But after a few songs, I decided to go a couple doors down to see:

Emperor City Motorcade
@ Pianos
New York, NY - August 3, 2007

I once saw this band play at a bar on Grand St in Williamsburg on a bill that included the Violets, and was sponsored by some gravelly voiced old timer named Frank Black. ECM, at that time, had a lot of R & B infused with some good solid modern rock, but nowadays they appear to be more of a ballad band trying to come up with some sort of a genre. They still rocked out on a couple numbers, sounding very arena rockish but their last bit, "Mary Jane" was very Alice in Chains, and that's not such a bad thing.

Action Painters; Wormburner
@ Mercury Lounge
New York, NY - August 2, 2007

After getting too drunk for my own good at some yuppie bar party in Midtown, I somehow wound up at the Mercury Lounge, randomly checking out whoever was playing. I walked in on Wormburner who seem to be doing the indie-rock thing well and their cover of "Hungry Like The Wolf" was a good, pure version - we're not talking the Killers here. Headlining act Action Painters were just as good with good stage presence but I had to leave after a couple songs because the booze was catching up with me. Checking out their recorded music, it appears they didn't benefit from the "All Bands Are Great When You're Drunk" law. They're for real. I'll be sure to see these bands again.

QB3
@ The Tea Lounge
Brooklyn, NY - July 27, 2007

Slightly psychedelic jam rock live as two episodes of the Twilight Zone play behind them, and eventually the band did a nice extended set. Very Pink Floydish, but in that old London club sort of way, not later arena opera rock sort of way.

The White Stripes (with Grinderman, Porter Wagoner)
@ Madison Square Garden
New York, NY - July 24, 2007

Ten years and ten days after 2 kids who nearly called themselves the Peppermints played 3 songs at the Gold Dollar in Detroit, Michigan, the White Stripes headlined a show at Madison Square Garden. Some could argue it was a double bill, even a triple bill, considering the weight and respect behind the first two acts, but at the end of the day it was the White Stripes atop the marquee, and it was they who brought upwards of 15,000-20,000 people to the Garden on a Tuesday night. It was they who brought the usual rabble of hipsters, punks, metal heads, frat boys, and classic rockers, tweens, teens, twenty-somethings, thirty-somethings, forty-somethings, and beyond. It was they who played for those who only knew "Seven Nation Army" and those who thought "Fell In Love With The Girl" was the signal that they had sold out. For those who thought Get Behind Me Satan was a classic and those who hated its very existence. And for those who think Icky Thump is the triumph of their aluminum anniversary.

A long way away from that Bastille Day last century, and a month removed from the greatest performance this writer has possibly ever seen by any band ever, the Stripes had a tough task before them. The acoustics of the Garden proved challenging to their sound, at least to those who have heard them in smaller places. They had to appease the most vanilla, mainstream, widespread crowd they've arguably ever attracted, while sticking to their signature ethic and etiquette. They more or less succeeded, but something was amiss - it wasn't firing on all cylinders. The band played well, in fact they played perfectly, but they didn't sound their best. It may have been beyond their control, in fact it probably was, but when even "Ball and Biscuit", the last song before the encore and when this writer left, doesn't sound like the best performance ever, it's not the White Stripes' greatest concert performance.

(This is the encore I missed: Blue Orchid // I Just Don't Know What To Do With Myself // Little Ghost // We're Going To Be Friends // Little Bird -> Catch Hell Blues [DAMN!] // My Doorbell // Seve Nation Army // Boll Weevil)

Intriguingly, it was the first time I heard and saw Jack play songs straight through and move on to the next one. No stopping short, no returns, no medleys. It was as if Jack felt he had to give the arena crowd a straight up arena show. And while in the past this writer poo-poo'ed the frequent medleys because it would cut off some of the best songs, I sort of missed it this time. "Don't know what you got till it's gone", a hair metal band once sang and it's true.

Highlights included "Canon" and "Slowly Turning Into You" the latter of which may have been the best song of the night, especially aided by the lights show. But what was up with that elevated platform? Jack only went up there once during the main set, to strut across for a few seconds. We should have at least been treated to an Angus shuffle.

But above all, this night was about reflections, remembrances, nostalgia, and ultimately, looking to the future. Having just seen them play their most intimiate New York show in years, and hearing and reading all about those special "secret" shows for Canadians these last few weeks, the past and future of the White Stripes and their fans collided and exploded at Madison Square Garden. Having reached the pinnacle of rock n roll stardom (at least for this diffuse day and age), the White Stripes really can't go any further. They sit atop the rock n roll temple as the most respected critics band to be equally popular with the trend setters, the die hard rock n roll snobs, and the mainstream audience. They sit atop that temple with the Steeple of Jack White firmly in place as the man of the hour, of his generation, and all the good and all the baggage that comes with it.

Five years ago, this writer caught wind of "Fell In Love With The Girl" and over the course of a few months, the White Stripes took over as the band and they haven't really relinquished that spot. Perhaps it is because they are new and regenerate themselves with new records, perhaps it is because they are the nexus of blues, country, punk, rock n roll. For whatever reason, they are the top special. They are responsible for this writer seeing pretty much every single band he has seen over the last five years and every record he has bought. They are responsible for much in the way of personal affairs, private life changing things, and all the good and all the baggage that comes with that. That is some unknown burden (or is it unknown?) for a rock band to have. Especially for just a duo with a really hot drummer.

It's been quite a road traveled. From those 3 songs at the Gold Dollar, to the Great Biographical Lie, to the MTV Movie Awards, to the Pre-Tour Video, to the Hammerstein Ballroom with Loretta Lynn and Blanche, to jamming with Mick Collins on "Rated X", to those shows with the Strokes, to those four nights at the Bowery Ballroom, to a week's residency at Conan, to a Grammy Performance that blew the world away, to the internet message board that has stirred up lives and emotions not just of fans but of the band itself, to headlining Glastonbury, to being on The Simpsons, to playing every Canadian province and territory and every American state in one tour, including a one-note hullabaloo on the streets of a Podunk Canadian provincial capital, and one night with Nick Cave and Porter Wagoner at Madison Square Garden, this is a road not taken by any other band - neither popular nor respected.

When Jack sings about redheaded girls he shouldn't kiss, this sums it all up. Everything. From the 3 songs on Bastille Day to Madison Square Garden. People, places, actions, comments, scraps, babies, all of it. It's a sign that some things will probably be forever broken and never repaired, that things have to change for better or worse, that nothing ever lasts, that the circle opens and closes. People move on, people stay, there will be loyalty and gratitude (as assuredly as death, taxes, wristbands, and inchapones), and there will be drama. One could - and should - say that "it should just be about the music" and nothing else should matter. But eventually, even in this sometimes absurd road traveled, those things around the music become the music. And though it is not consequential enough for someone on the outside to look into, think of the survey of the land, of this inexorable relationship between this band and its fans, between this band and their peers who share the same fans, and the fact that some fans become more than fans...blame (or credit) the internet for it, blame (or credit) - or at least question - the mental health of all involved, bands and fans alike, take it all in, and map that road from 3 songs at the Gold Dollar to Madison Square Garden.

Is it time to look for the exit ramp?

Grinderman (with the White Stripes, Porter Wagoner)
@ Madison Square Garden
New York, NY - July 24, 2007

There were boos. Lots of boos. In the bathroom, some frat jock asshole said he wanted to find Nick Cave on the street and stomp his face in. People complained that the filthy, raunchy blues-psychedelic hard jam of the band wasn't tough enough, perhaps because Nick never fulfilled the legitimacy of a million jock frat boys' dreams of assaulting someone and getting arrested. The people around this writer did not even know who Nick Cave was, let alone Grinderman.

In short, Grinderman stole the show.

Grinderman doesn't play music to have sex by. It's music to fuck by. Dirty, grimy, full of muck and smell - Cave and his cabal are not here to mess around. Hanky-panky is for the weak. Unlike their fellow acts of the night, Grinderman's music fit the acoustics of the big joint, reverberating off the walls with an unmatched ferocity. "Get It On", "No Pussy Blues", and something called "When My Loves Comes Down To You" or something like that, particularly displayed this piledriving rock n roll. "Don't Set Me Free" was another highlight. But it wouldn't be Nick Cave without some depth. There are meanings behind at least some of these songs, which is probably what threw the barbarians in the crowd for a loop. Philistines try to ruin everything.
More thumpish (yes that word) than the record, live Grinderman seems to be right at home in the thunderous arena of the Garden, but would also be right at home on a Saturday night at the Roseland. Book them now. And then go screw.

Porter Wagoner (with The White Stripes, Grinderman)
@ Madison Square Garden
July 24, 2007

The grand ole country legend from nowheres, Missouri - who was the yang (or yin) to Dolly Parton's yin (or yang), got to play at the big old Madison Square Garden. And while it is a little disturbing to hear an old country legend essentially say he's honored to open for Jack White, the Wagonmaster did everything in fine style. Nudie suit in tow, Porter was backed by another venerable country musician, Marty Stuart and a band of good ol' boys. True hillbilly foot-stompin' at times, the rump of the short set consisted of those standard slow country laments which, if you are not a big fan of, did nothing to convert you. But on a night of both nostalgia, reflections, and looking ahead, it was a great way to start the show. This writer was once the only 11 year old in Brooklyn who liked country music and knew who Marty Stuart was (but admittedly only knew of Porter, not by name, as "the old guy Dolly worked with"). It was a nice trip down a very narrow memory lane.

The Ponys; Jay Reatard; Turbo Fruits
@ Bowery Ballroom
New York, NY - July 21, 2007

Stunning disappointment. I did not like the Ponys. Despite having catchy, boppin' rock records, the live performance was dull. The songs didn't go anywhere. They just sort of lollygagged around. Maybe they needed a keyboard or something. A band from Chicago should be better than they were.
On the other hand, I was not expecting to enjoy the hardcore antics of one Jay Reatard of Memphis. I never took to the Lost Sounds or his old cohort Alicija Trout. But lo' and behold, it was the show stoppin', hardcore badass, non-stop buzzsaw garage punk of Mr. Reatard and his fellow bushy-haired brethren that trumped the night. Jay and the gang never let up for one minute and perhaps most miraculously, through all that intense, spastic fury, one could make out a cavalcade of three-chord old time rock n roll. It's there, lying just underneath the surface of Jay's Gene Ween-like look (and double kudos to the bass player's neo-classical Jewfro).
The Turbo Fruits are from, surprise surprise, Nashville. And, as per the rules of any band with "Turbo" in their name, they were a hard, fast-rockin' band. They couldn't be more than a collective age of 5 as well. Just kidding, but they were all under 21 and the drummer in particular looked like he was still figuring out puberity. The band is as hard rockin' as Reatard but also slowed it down here and there, a slight dash of southern sludge but only as a little way to mix it up. Good start.

Electric Six; Mobile
@ Maxwell's
Hoboken, NJ - July 20, 2007

The crowds get crazier and crazier all the time at Electric Six shows, even at Maxwell's. Packed to the last possible person, the mosh pit was intense, and I saw crowd surfing for the first time at Maxwell's. I may be wrong but I think even Dick Valentine said "Put him down" as a means to control the crowd but in a subtle, "let me make it sound like it's part of the song so this crowd doesn't think I'm a square" kind of way. Poor Dick, it seems for the first time he's overwhelmed by the audience. My question is, if they are this popular, where are the radio hits? Why didn't this band explode like I predicted back in 2003? It ain't right, I tells ya. There isn't a better party band around, even if they never really mix it up musically, and even with Valentine's increasingly long-winded political monologues (though this night's affair was nowhere near as serious as New Year's Eve, but it was way longer). What sending all the girls in the crowd down Frank Sinatra Blvd and putting them in a giant microwave and zapping them to have sex with an old W. Bush in the future has to do with anything, I don't know.
Highlights included: "I Buy The Drugs", "Devil Nights", "Future Boys", "Danger High Voltage", "Jimmy Carter", and "Improper Dancing", and "Germans in Mexico". Lowlights include "Slice of You", a terrible song from the last album that I wish Valentine would bury. I also condemn his random "anyone here from Florida" moment and letting some guy come on stage and talk, just to have the guy turn out to be some frat boy jock asshole who brings a woman on stage and, for no reason, starts calling her a whore. And she said something stupid too. Way to go, Dick.

Mobile is some anglo-american pop rock kinda deal from Quebec. But more than sounding like contemporary pop rock bands, they also sound a lot like the Cult and I was vindicated in this regard when after someone shouted out for "Freebird" (what a crowd huh?), the lead singer asked if anyone liked the Cult.

Art Brut; White Rabbits
@ Highline Ballroom
New York, NY - July 9, 2007

The bunch of dweebs known as Art Brut played for a crowd packed with dweebs, singing songs about being dweebs and the good things that can happen when dweebs get revenge by becoming rock stars. Oh, there were some hip people in the back and in the booths.
One of the most fun live bands I've seen in some time, Eddie Argos and his gang are having fun playing silly rock n roll and there is nothing wrong with that.
Eddie shaved the 'stache! He no longer looks like Alfred Molina - well not as much anyway.

I first caught White Rabbits last year when they opened for Asobe Seksu and Pas/Cal and I forgot all about them until I looked them up after the Siren schedule was announced. That tells you something right there. The songs aren't bad - at least a couple are certified winners - and the sound at the Merc was off so they had a shot at doing it right this time. They sounded better but still need to cheer up and have a good time. Especially compared to Art Brut.

The Highline Ballroom is, on the whole, a terrific new venue - great sound, great lighting, and it has FOOD. A rock n roll dream come true for some aging oldheads like myself, similar to S.O.B.'s but with a balcony, the Highline offers an impressive menu in a sleek setting that contrasts nicely with the general theme of rock n roll bands on the calendar. I never thought I could write that I saw Art Brut whilst eating salmon tartini with sauteed spinach but alas I can. A bit pricey though.
One sour note: a bad house DJ. Foo Fighters? Red Hot Chili Peppers? What is this, K-Rock?

Alternate titles for this review include the following:
"Go Art Brut, Go!"
"Dinner and a Date with Art Brut"
"Top of the Pops!"

NYC Smoke; November
@ The Annex
New York, NY - July 7, 2007

Who needs a bunch of carbon-conserving stadium concerts when you can hoof it to a small little gig on the Lower East Side? On the opposite end of live music from the Live Earth concerts, a couple little bands played a little place on a narrow street in a not-so small city. And they like to look good. Both NYC Smoke and November (save for the latter's singer) dressed in nice suits but that was where the similarities end. NYC Smoke played an eclectic mix of contemporary rock n roll, fusing pop hooks and sensibilities with an Indie sense of rock. And they did it well. Nashville-based November played contemporary sludge-y hard rock and benefited from a great acoustics at the Annex but on its own, it was really no different than the vanilla hard rock that dominates corporate radio. Plus the name is kind of dull.

Norah Jones
@Bryant Park
New York, NY - July 6, 2007

Per Good Morning America's free "concert series", Norah did a three song performance in the shadow of the Ghostbusters building (AKA the New York Public Library). As the horror that is morning television prevented the performance from being a true concert, the band sounded fine and maybe the notable news is seeing Norah playing electric guitar for "Come Away With Me". With a Fender around herself, is it possible that this is the first step in Norah's much talked about path to yet another side project, that of the semi-punk Rock n Roll lore of a couple years ago?

Ben Sadock; Steve Espinola
@ Sidewalk
New York, NY - July 3, 2007

A couple of piano men did their balladry thing on a Tuesday night in the East Village. Sadock, a self-described "Graduate Student of Yiddish" by day, sang a mix of Rufus Wrainwright, early Billy Joel, type queries, while Espinola sang more silly, absurd, and at times morbid poetry. This is the kind of stuff that it is good to know it is out there, when you want it, in this roving metropolis of a million things to do.

Seun Kuti & Egypt 80
@ S.O.B.'s
New York, NY - July 1, 2007

Afrobeat Rules. So says the shirts for Seun Kuti and so it is that it is also true. The rhythms of Africa tossed and toiled into an American sound, evolved and evolved some more, one day becoming the work of James Brown and George Clinton, brought back to Africa, reworked, evolved, and brought back again, and this is Afrobeat. And this is Seun Kuti. The son of a famed Nigerian musician and social critic, Fela Anikulapo-Kuti, Seun is an extremely energetic and effervescent musician and singer. He leads a powerful, perfect horn section that is backed up by a non-stop, hard driving, rhythm section. It was a funky good time. A Jazzy good time. A soulful good time. It was all those great African-American-created musical good times rendered full of inter-continental vibe and swing. Afrobeat rules, indeed.