Live Reviews « Knox Road

Finn Riggins

When I moved from the D.C. music scene to Farmington, NM I expected close to nothing in the area of “good music.” I got less than that. In my most recent move to Pocatello, ID, home of Idaho State University and a handful of fantastic bars, I expected at least a little more. […]

Tom

MNDR @ 9:30 Club

Ever since I read about – and got hooked on – electropop-IDM sensation MNDR (Amanda Warner) on Sheena Beaston’s blog, it seemed that well-earned hype has grown exponentially. MNDR is everywhere: magazines, radio, blogs, Facebook advertisements, Mark Ronson’s infectious “Bang Bang Bang,” and now on tour with Chromeo. Maybe it was all the hype or maybe it was my love for everything she’s written with behind the scenes bandmate Peter Wade, but I had high expectations for MNDR’s sold out 9:30 Club debut on Saturday night.

Perhaps the expectations were unreasonable. Mic malfunctions and a lukewarm crowd reaction put a damper on what I anticipated would be my favorite live performance of 2011. It was still an impressive one-woman seven-song set, but MNDR’s finest D.C. performance is still to come. Tokyo’s The Suzan got just as many, if not more, bodies moving to open the night and received a warm reception from the earlybirds. But by the time Warner took the stage in front of her mesmerizing black-and-white light projections of moving rectangles, the 1,500 person capacity venue had filled with Chromeo fans who seemed less than enthused. A few belligerent drunks up front spoiled the set for many by nearly starting a few fights and cussing out MNDR, who in reply asked, “Why are you so sad?” The microphone cut out frequently in the second half of the brief set. Very few were dancing; I felt like an awkward teenager at a school dance. By the time the crowd showed signs of life and clapped along to new single “Cut Me Out,” (mp3 available for free download through Green Label Sound) the set was almost over.

Despite having the odds against her, mega-bespectacled MNDR showed flashes of her brilliance. The quirky and fashionable Warner commanded the audience’s attention and rarely took a break from dancing and smiling to her synths, though she sat to perform the slow tempo hit from 2010’s E.P.E. “I Go Away.” The bouncy and pulsating Patty Hearst tribute song “Send My Greetings” was a highlight and a glimpse into Warner’s bright future, and closer “Sparrow” was as vibrant and beautifully shrieky as ever. “Jump In” and “Fade to Black” didn’t quite capture the magic of the studio versions for me (Damn you, high expectations!), but “Cut Me Out” translated well as a dance-inducing juggernaut. Early tracks (her spelling bee theme songs) “Caligula” and “C.L.U.B.” were sorely missed, and I had hoped to hear either “Diamonds” or “Casual Attraction.”

Regardless, MNDR’s set left me wanting more. Whether it’s a smaller venue, a longer set, or a less lame crowd, MNDR’s next D.C. performance will be the mindblowing dancefest I’m expecting.

[Photo courtesy of Francis Chung, DCist.]

Continue reading MNDR @ 9:30 Club →

Tom

Kate Miller-Heidke @ 9:30 Club

I really didn’t want to enjoy Kate Miller-Heidke‘s 45-minute set last night in Washington, D.C. My other concert reviews on this site have been full of praise and I wanted to write a scathing review; certainly the Australian’s quirky pop, which I had only limited exposure to prior to the show, couldn’t win me […]

Tom

Isobel Campbell & Mark Lanegan @ Rock and Roll Hotel

“What is she? Some kind of magician?” my wife inquired as Isobel Campbell shaked, rattled, and pounded several unique percussion tools during “Back Burner.” Indeed, she is. As the songwriter in her unlikely indie-folk collaboration with enigmatic Mark Lanegan, Campbell has masterfully orchestrated the musical backdrop to highlight perfect vocal constrasts. Isobel Campbell and Mark Lanegan put their talents on display Friday night at the Rock and Roll Hotel in Washington, D.C.

From the subtle opener “We Die and See Beauty Reign” to the undeniably-Lanegan-blues closer “Wedding Dress,” I was transfixed by the complementary vocals, almost entirely ignoring the more-than-capable backing band. Lanegan took the lead for standout foot-tapper “You Won’t Let Me Down Again” and the duo put its third record Hawk on display on the sultry first single “Come Undone.” Lanegan mesmerized the crowd with “The Circus is Leaving Town” and Campbell captured the essence of Hope Sandoval‘s sound with “To Hell and Back Again.”

Opener Willy Mason displayed talent well beyond his 25 years during his mid-set duets with Campbell, but by the ethereal “Back Burner,” it was clear that Lanegan and Campbell have superior vocal chemistry. Lanegan may not have deviated much from his badass demeanor – a sort of permanent eyes-closed scowl as he channeled every emotion – but he garnered the most laughs from the half silent, half chatty crowd after a false start of “Come Undone.” Feedback plagued the track, prompting Campbell to halt and unsuccessfully attempt to communicate the problem to the soundboard. Lanegan’s description: “Robotic. Metallic. Beautiful.”

Lanegan otherwise was a man of few words and smiles whereas Campbell was chatty, politely asking for silence (“…but we’re happy!”) for each of Mason’s duets and cracking up during “Cool Water” about another band member’s “ding dong” joke from earlier in the day. The crowd didn’t mind. With three solid records and now memorable U.S. shows to their name, Isobel Campbell and Mark Lanegan had earned it.

[Photo courtesy of Hartzine.]

Setlist after the jump.

Continue reading Isobel Campbell & Mark Lanegan @ Rock and Roll Hotel →

Abby

Wild Nothing impresses in DC

I first heard Jack Tatum (aka. Wild Nothing) while listening to FM4 radio in Germany a few months back. “Summer Holiday” rang out through the car speakers and ended without the DJ identifying the band before starting another song by another artist. I assumed it HAD to be some obscure, Sarah Records band […]

Tom

Justin Jones @ 9:30 Club

My first impression of Justin Jones is that he – like this concert review – is the guy who shows up late to the party. Jones, a Virginia/D.C. singer-songwriter who is the first signed to 9:30 Records, a new label launched by 9:30 Club co-owner Seth Hurwitz, casually walked on stage to tune […]

Tom

Interpol @ The NorVa

Interpol, July 24

After a nearly two year hiatus from touring and a lineup change, the atmospheric and always fashionable Interpol demonstrated Friday night at The NorVa in Norfolk, VA, that it’s back in full stride. In support of its upcoming self-titled fourth record, the NYC-based post-punk kings immediately showed off the new (not the song): the absence of lanky bassist Carlos Dengler, the additions of Brandon Curtis (Secret Machines) on keyboards and David Pajo (Slint and so much more) on bass, and the new material. I anticipated the loss of Dengler to be jarring as he and drummer Sam Fogarino were the driving forces behind the band since its debut, Turn on the Bright Lights; Pajo, however, is no stranger to the scene, and he and Curtis are more than suitable replacements.

Though the band has changed, the music hasn’t. Picking off where 2007’s moody and textured Our Love to Admire left off, nascent tracks “Success” and “Lights” build slowly and capture the band’s trademark sound. Both “Summer Well” and “Barricade” fit an OLTA mold, as well: less “PDA”-style twists and turns and more mastery of the grandiose and repetitious. The band seems to have found its comfort zone, and though Interpol may not sell out venues with ease as it had in the Antics-era, it has achieved a different kind of success.

The supportive crowd at The NorVa embraced the new material but was most electric for the band’s standout tracks like “Say Hello to the Angels,” “Obstacle 1,” and “Evil.” Confident frontman Paul “Julian Plenti” Banks rarely engaged the crowd with banter but crooned well, smiled often, and saved the stage antics (no pun intended) for energetic guitarist Daniel Kessler. There wasn’t a bum note throughout the entire set, a sign of how well rehearsed the band is, and the group’s cohesion was highlighted by Fogarino’s always impressive work on drums. The highlight of the night may have been the insistent clap-along rhythm of “Not Even Jail” or the beautifully elegant “NYC,” though fans who were present may argue it was the heavily requested “Stella Was a Diver and She Was Always Down.” This was a triumphant return to consistency for a band going through changes.

Opening acts Twin Tigers and The Postelles were solid, but the former was much more memorable. The Athens, GA-based group, accurately described as “dream noise” – think of a Sonic Youth-inspired shoegaze with pounding drums and lackadaisical vocals – romped through its set of material from debut Gray Waves. With a band name emphasizing similarity, Twin Tigers focused on contrast with its dissonant guitar harmonies.

[Photo courtesy of Roaming Lucia, Flickr.]

Setlist after the jump. Continue reading Interpol @ The NorVa →

Jamie

Harlem @ Siren

A lot of bands with complicated sounds like to take their act to the stage and put on a big, complicated show. Sometimes, this works very well (see Holy Fuck) and sometimes this falls short (see Cymbals Eat Guitars). But sometimes a band with a very simple sound and a very simple show to match can steal an entire festival. Enter: Harlem.

I’ve long professed my love of this smarmy Austin trio who has made a name for themselves singing about weed, love and “Gay Human Bones,” and after seeing their set at Siren, I can now profess my love for their live act. After watching the seemingly snotty and disconnected Surfer Blood, Harlem was a breath of fresh air. Between ripping through the likes of “Friendly Ghost,” “Be Your Baby” and “Gay Human Bones,” the three kept things happy and playful, occasionally egging on the already feisty crowd for more support. As if at the band’s command, the audience moshed harder, crowdsurfed even more and were promptly shoved back in by security.

If any band had a finger on the pulse of the audience, it was Harlem. They played flawlessly and appeased what appeared to be every single person in attendance. Their garage side pleased the angst-ridden masses, while the pop side simultaneously lifted their spirits. Despite the pushing and shoving, the people in the crowd seemed genuinely elated. Even if nobody, including me, knew what “Gay Human Bones” was exactly about, the crowd and the band looked too happy to care.

Harlem – “Gay Human Bones” [MP3]

More photos after the jump.

Continue reading Harlem @ Siren →

Jon

Wye Oak @ Siren

Wye Oak is what happens if you take Matt and Kim, sap them of their top-40 savvy and say “Hey, this whole folk genre isn’t too bad.” What I’m trying to say is that the two bands are very much not alike, except they’re both guy/girl duos.

What an awful introduction that was. During its earnest set on Saturday, Wye Oak was pleasant but often subdued, considering the general lack of immediacy in its music. They played near-flawlessly, but there’s only so much to say about a band — guitar and vocals from Jenn Wasner and drums and simultaneous keyboards from Andy Stack — that is so content with just being nice to listen to.

However, the duo did play a few new songs, which were very exciting glimpses into the future of the band. The new tracks were more striking from the outset, whereas some of the band’s older tunes tend to get lost in hazy bouts of reverb and distortion. The crafting of the songs, even, was improved: disparate halves came together to form a surprising connection between verse and chorus where you wouldn’t think there could be one. All in all, good work. I’m markedly more excited for the band’s next release than the past one.

Wye Oak – “I Hope You Die” [MP3]

More photos after the jump.

Continue reading Wye Oak @ Siren →

admin

Earl Greyhound @ Siren

By Brittany Borghi

Rounding the corner of the Stillwell Stage for the 4:30 set, one thing became clear to me: Earl Greyhound is immediately awesome.

Lithe lead guitarist Matt Whyte looked like Anthony Kiedis from the “Under the Bridge” video; long scraggly hair blowing in the beach breeze while he shredded the most delicious licks into the band’s funky blues rock songs. Contrasting him on bass was the psychedelic Kamara Thomas. The way she dressed was an appropriate synecdoche for the band’s overall sound: flowing, 70s style wrap dress with vintage Native American inspired feather earrings; a giant, pulsing girl-power afro; and a block of space-age silver face paint on her forehead.

While she was grinding her bass into the ground and howling a loud “Why-yi-yi-yo” in their opening song, “Sea of Change,” a second thing became clear to me: Earl Greyhound is pure sex.

I picked my jaw up off the pavement just in time for them to play “Ghost and the Witness” off their new album Suspicious Package. Whyte and Thomas’ echoing harmonies were the best I’d heard all day, and the song’s pelvis-injected, spine-winding goodness was hypnotic at least. Thomas’ bass pumped through the rest of the set, carried by Ricc Sheridan’s R&B inspired drums, smoothing it out during the melodic moments and pumping like an anti-war shotgun when things got more militant.

The trio was light-hearted about their overt sexuality, promising the crowd a “’Suspicious Package’ in a special place,” if they so desired. The band was selling the new album for however-much-of-a-donation people were willing to pay, and you could meet and chill with them after the set. Again, they are awesome.

Earl Greyhound – “Ghost and the Witness” [MP3]

More photos after the jump. Continue reading Earl Greyhound @ Siren →