We All Want Someone To Shout For

This show was my 4th time seeing The Black Keys live, and easily the best show yet. The first time was an shyer version of the band at MSG opening for Pearl Jam. The second was a show at Terminal 5 that was solid, but left me wanting more. Then there was Bonnaroo, which was good, but you lose a lot at festivals. I was in the pit at MSG, and was as close as you could get to the stage. The Black Keys didn’t disappoint. How could they?

The band sounded crisp and electric, bringing a tremendous amount of power for what is honestly only a duo. Dan Auerbach’s vocals sounded crystal clear, and Pat Carney was going as humanly hard as possible on his poor drum set. The band knocked out a steady slew of songs from their most recent albums, backed up by two additional band mates. “Gold On The Ceiling” was a knock out live, bringing the best of the bands two different eras to full formation.

The real fun was in the middle of their set when it was just the duo of Dan and Pat, and they played all of their older cuts. How can you deny the hard-hitting soulful “Thickfreakness”, the pounding of “Your Touch” and the ever so bluesy twang of “I’ll Be Your Man”. The band went back and forth between eras after this, and they had me moving and grooving throughout.

“Tighten Up” and “Lonely Boy” were as electric as they should have been, and were a perfect lead in into the encore, which saw the release of a giant disco ball that made the encore even more theatrical. “Everlasting Light”, “She’s Long Gone” and “I Got Mine” were the final three cuts, and they proved to be as hearty and strong of a finish as you could have asked for.

I love myself an intimate show just like the next guy, but when you get two bands that are bound of big things, sometimes the worlds greatest are Read the rest of this entry »

So Arctic Monkeys finally played at The Garden. Though they’re not headlining quite yet, an opening gig for The Black Keys is still an awesome thing.

The Monkeys didn’t sound lost at all during their set, which was dedicated to the heavier, faster-paced songs of their catalogue. Starting things off with banging versions of “Brianstorm”, “This House Is A Circus”. and “Still Take You Home”, the pit had no problem getting into things. From there the heavy riffs continued to dominate with demanding versions of “Don’t Sit Down ‘Cause I’ve Moved Your Chair”, “The View From The Afternoon”, “I Bet You Look Good On The Dancefloor”. I shouldn’t have been surprised by how well the tunes filled out the massive MSG, but I couldn’t help but be in awe. This was a big stage even for these guys, and it made me very proud to see them dominate it so well.

I was glad to see that the band brought “If You Were There, Beware” out, since it’s one of the best early showings of the darker sound that the band now occupy’s. “Pretty Visitors” is always worth it live just purely to watch Matt Helders tear up his drum set. “Teddy Picker” eeriely brought back memories from the first time that I heard the song ever so long ago. The urgency of “Crying Lightning” has gone no where, especially with Turner’s hilariously creative guitar pick trick. He’s certainly been practicing.

“Evil Twin” and “R U Mine?” are ideal thrashers for a bigger stage, and boy, did they translate with an enthusiastic bang. It was a great end to a trying performance that hopefully transformed some of the Black Keys fans into fans of the Sheffield 4.

Photos and setlist are posted below.
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Miike Snow’s reputation has been growing ever since their initial outburst onto the scene years ago. The band has three upcoming shows at the fairly large Terminal 5, which are all sold out. So it was a great opportunity to catch them at the more intimate Music Hall of Williamsburg.

They kicked things off with “Enter The Joker’s Lair”, the opening track from new album Happy To You. The band came out with their signature masks but soon removed them for the remainder of the show, a message that they will never forget their earlier roots, but also a notion that they are clearly moving on as a band.

The band weaved in and out of new songs and old, pleasing and dazzling fans in various ways. The new songs sounded great, but the songs from their debut were the ones that really shined. The band has spent plenty of time developing these familiar cuts into blitz formation, making it sound fuller, and giving it more room to breath with extended outtro’s and jams.

Miike Snow is a full band, but don’t get it wrong, it’s frontman Andrew Wyatt’s show. He has a demanding stage presence up front, putting out a show with his various microphones. His voice registered very well live, proving that Miike Snow isn’t one of those electronic bands who rely soley on the studio. No, no, these dudes are the real deal.

Hit the jump for the set list, and for more photos.

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Caveman first caught my attention after a wondrous set at Glasslands during CMJ. It has had me singing praises about their live show to everyone I know. Since then their debut album CoCo Beware has been on constant rotation. When I saw that the band was headlining Bowery Ballroom, there was no way I would miss out.

Pitchfork didn’t even bother to review their debut album, and until Fat Possum recently signed the band, not many people were educated as to who these Brooklyn indie rockers were. If things go as they should, 2012 will be a big year for this band. The bands show on Friday was a confident statement that they are here to stay.

Caveman’s set was inspiring from top to bottom, not giving us one dull moment. The songs jump out at you live, with a full atmospheric sound taking flight, forcing you to nod your head with ease. They gave us a few new songs along with CoCo Beware, and I can’t think of a moment where I wasn’t in complete enjoyment. Not many bands are as humble as Caveman are, and that’s just another testament to the success that they are sure to receive this year.

Don’t miss a chance to catch this band. In a few years Caveman will be playing much bigger venues, and you’ll be wondering why you didn’t catch them sooner.
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Sharon Van Etten played an intimate show for us New Yorkers tonight at The Mercury Lounge. The crowd was hushed to a perfect silence for her and she seemed to shy away her quiet demeanor playfully teasing herself about her clumsiness. Nothing was clumsy about her live performance which would hit moments of beautiful fragility and then spark into big eruptions such as “Serpents”, which is a song that deserves your attention.

The set was heavily dedicated to her new album Tramp, and let me tell you, it’s sounding good. Match the song quality with her ability to transfix you live, and you’re in love. Sharon is as loveable as a person as you will find on stage. With winning songs that are easy to adore, the only question you need to be asking yourself is why you didn’t see her sooner.

Be sure to catch Sharon at a venue near you, and pick up Tramp when it comes out February 7th via Jagjaguwar.

Find more photos from the show after the jump.
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My first show of 2012 was no small affair. It was a lethal bill consisting of King Krule, Real Estate, and Girls at Terminal 5. You can call it an indie rock invasion. A good one at that.

First you got a young band just emerging from the breeding grounds of True Panther. Another is a band that seems to be rising every given moment, making New Jersey very proud. Finally you got Girls, a band who have come a long way since 2009, selling out one of the bigger venues NYC has to offer, and doing so with relative ease.
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The National have come a long way over the last few years. Playing six shows in a row at The Beacon Theatre is no light task. Unlike other bands that have rose to fame, The National have paced themselves, letting everything happen naturally. That’s why no one is calling them sellouts. No one hates them for being able to sell out wonderful venues in NYC the minute they announce them. Everything about this band is humble, sincere, and honest. It’s why they’re the best band in America right now.

Picking a show to go to this week is like rolling a pair of dice. They’ve been altering their setlists with different songs from different era’s of their career, allowing a little something for everyone. On Thursday night they opened with “Thirsty” a song from 2002′s Sad Songs For Dirty Lovers. It was a keen reminder to the bands earlier days, a thank you to all the fans who have watched them grow ample amounts. From there, they dabble with songs from Alligator, picking two of my personal favorite cuts, the fiery “Abel” and the sincere emotional juncture that is “Baby, We’ll Be Fine”. Of course you got a strong selection of High Violets pieces (“Anyone’s Ghost”, “Conversation 16″, “England” and Boxer (“Slow Show, Squalor Victoria, “Fake Empire”).

The band were in high spirits, at ease with each other and the crowd. Matt was at the perfect buzz, hilariously starting “Sorrow” a few verses off, and realizing it after a few more. It was moments like this that make The National so much better than other bands. They connect with you on a level that’s so real, it’s scary. Just like their music. It all comes together full circle.

They threw in two rare cuts (“Exile Vilify” & “Driver, Surprise Me”) to my delight, and thankfully played both of the new songs, which are simple understated beauty. It’s always fun to get pumped up to “Mr. November” and “Terrible Love”, but after witnessing a perfect acoustic version of “Vanderlyle Crybaby Geeks” that allowed the crowd to take over as lead vocalist, I’m 100% sure it’s the only proper way to end their shows.

The National are wrapping up their High Violet tour after this run of shows, and we may not see them again for some time. If you can, be sure to catch them either tonight or tomorrow. You won’t regret it, I promise.

The setlist, and more photos after the jump.

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Big Troubles opened up with Pavement-like inspired 90s rock that sounded great. Still got to get to their latest album, Romantic Comedy. Don’t know what I’ve been waiting for.

Real Estate opened up with “Easy” and it was all easy listening from there on. The set was dedicated mostly to their new LP, save for a few tracks from their debut. The band sounded clean, vibrant, and lush (that’s for you Peter), making it all seem so easy. These guys don’t have the most extravagant live show, but rather, they delight you with a calm understated presence that keeps you under a spell. I’m already looking forward to seeing them open up for Girls.

Check out photos from the show below.
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Not much has changed since the last time I saw Passion Pit. Michael Angelakos vocals are still incredibly high, the setlist hasn’t changed (aside from the two new songs they’ve been showcasing), and they are incredible fun live. Cornell’s Barton Hall is a beautiful building, and always a good place to see a show. The band had all the students feeling good, and there was no reason to disagree. Passion Pit are just one of those bands that put a smile on your face.
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Wednesday night’s show at Bowery Ballroom was the third time I’ve seen them this year. I’ve enjoyed ever performance more than the last, and this show was no different. The band sounds as tight as can be with the new lineup, and they really gave it there all. The set saw a fair breakdown between both Portamento and The Drums. They also played early cuts “I Felt Stupid” & “Baby It’s Not The Point”.

Johnny was one point last night, as entertaining as ever with his dramatic moves. If you’re a fan of the band, don’t sleep on their live show. It re-creates the mood and emotions found on their recordings, focusing on the best elements that just jump out live. “Down By The Water” and “The Future” are two examples of songs that really transform live. Hearing “What You Were” live after spending amble time with the recording solidified it as one of my favorite tracks of the year.

Check out some more photos and the setlist, after the jump:
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