We are Dancer

I can't think of a better way to start 2009 than with The Killers at Madison Square Garden. This show was milestone for me in a number of ways, 1) it was the first time I saw them supporting 'Day & Age,' 2) the sixth time I've seen them overall, which more than any other band for me, 3) the first time my girlfriend was seeing them live. So all were compelling reasons to make this show pretty special.

Now, one would think that after seeing a band live five previous times, their shows would become less exhilarating. I can only imagine that the band members themselves feel a tour-fatigue after many years churning out the same hits on stage, where they're always singing that one big hit that everyone wants to hear. But, with The Killers, I think this is not the case. First, I do not believe they have a "hit" that they dread playing live. Regardless of the critical appeal of their first album, and lack thereof for the second, both albums sold a lot of copies, and the third is on pace to do the same. And most songs on all three albums are popular among their fans.

The interesting fact about their rise is that they had two simultaneous hit songs when 'Hot Fuss' first broke, and now it really depends on the person you're speaking to which of those songs, "Somebody Told Me" or "Mr. Brightside" was the "hit." But the thing about those songs is that neither one was the best song off of that album. I have to say that mantle goes to "All These Things That I've Done," arguably the most popular song that they've done, while still, in my opinion, being the most underrated. And this is disregarding both "Jenny Was a Friend of Mine" and "Smile Like You Mean It," both considered favorite songs by countless Killers fans. When the first five tracks off your debut album can all be considered some of the best songs you've created, it might be considered a bad thing, luckily they are not the only "best" songs.

Because of the interchangability of these songs, it makes the concert-going experience that much more fun. I've gone to Killers shows with different friends each time (and once solo) and the one thing that most take away is that every song is good. There isn't a moment that I'm bored or waiting for the next song, every song is a "hit" and the band plays them like they are. As far as we're concerned, Brandon Flowers probably thinks they're all hits. If that's the case, it's an an arrogance that I don't mind.

Despite being panned by critics, I believe as time passes that mostwill look back fondly on 'Sam's Town' and see what a great album it was when compared to their entire catalogue, similar to the way people now look back on Led Zeppelin's panned efforts and Weezer's 'Pinkerton.' 'Sam's Town' was an experiment, it was more stage production than recorded music, and the concerts--even the looks of the band members--reflected that. For the entire tour in support of the album, the concerts had the baby grand piano, Christmas-lighting, and a dusty-desert feel. The glossy, unshaven, eighties-fused, synth-rock of 'Hot Fuss' was grown out, de-glossed, and unplugged to a degree. 'Day & Age' proves this even more, with an upgraded return to that original look and sound--the concert stage now populated with palm-trees and neon flashing-lights, bubbles, and confetti falling from the rafters. With some bands, it might be construed as trying to recapture what made them popular to begin with, but the Killers didn't get less popular with Sam's Town. They got bigger--so big in fact, that no they can be considered one of the biggest bands in the world, capable of selling out arenas and drawing fans from all genres of music---heavy metal to teen-pop.

This was never more evident than at the Garden. Now having three albums (plus a worthy list of B-sides and covers) to perform, the Killers can vary their sets and make every show the experience that it was always intended to be. Check out the setlist here. With seven of twenty songs coming from 'Day & Age' they provided a proper sampling of new stuff, while still covering the staples some fans crave. (I personally came for the new stuff). Six songs came from 'Hot Fuss' with five coming from 'Sam's Town'. Two songs came from 'Sawdust' and I count "Sam's Town (Abbey Road Version) as one of those, the other was "Shadowplay". Some new songs were missing from the NY show that they have played in Chicago or Denver, like "Tidal Wave," "A Dustland Fariytale" and "This is the World That We Live In" (my personal favorite). But, overall the set was pretty perfect for new and old fans alike.



Seating in the Garden for concerts is pretty forgiving for a large venue. The sound is excellent no matter where you sit, and every angle offers a clear view of the stage. The size is deceiving because even though the arena is enormous, once inside, it feels very intimate. If I had to go to an arena show (which I try to avoid, but oddly enough I have gone to in three blog posts!), then I would choose the Garden. Obviously I prefer the GA pit or Floor seating, but out of my seven trips, this is the first time I did not sit on the floor. (Another milestone!) For this first venture outside the sheltered confines of concrete, eBay and my wallet helped me choose section 110 (I decided to go last minute based on a pretty decent ticket price after having slept through the Ticketmaster on sale date---damn those who chose 10AM on Saturday). Section 110 is stage right, but still offers an angled view of the front, so it's not completely to the side.



Overall, number seven was just as good as ever and I'm already counting down until number eight.

The Arbitrary Hand of Big Blogger

Back. Finally. (Or at least I thought I was, until Google decided to delete my last post.) Ah, well, my brilliant scribblings are now lost from the interwebs forever. Next time I must back up a copy in MS Word.

But aside from that, the 2008 disappearence was otherwise my fault. Whoever says that bloggers are lazy seriously has never tried to keep a blog. It's easy to Twitter every little piece of bullshit that pops into your head, but to actually write and edit, and develop thoughts and ideas and write them down on a semi-regular schedule can be downright difficult, especially when you don't live in your parent's basement and have to maintain a real life that involves work, dinners out, the gym (ugh), concerts (clearly), and everything else. Regardless of my excuses, I really haven't been going to that many concerts since last year.

This year, barring more economic woes, I hope to change that.

Puppet Show

Since they first surfaced I've been a pretty huge fan of the Arctic Monkeys, so when I heard some months ago that Alex Turner got involved in a side project with the lead singer of the lesser-known Rascals, Miles Kane, I was immediately intrigued.

When I first listened to 'Age of the Understatement,' the initial single of the EP of the same name, it seemed like an Arctic Monkeys rehash of sorts, which wasn't necessarily a disappointment to fanboys like myself, but after listening to the rest of the EP, and the LP that followed, there is a distinct sound present in the Last Shadow Puppets that separates itself from Turner and the Monkeys.

While the vocals are similar because that's the way he sings, there is definitely a 60s 'Baby I'm Yours' vibe to the album, and when listening to 'Favourite Worst Nightmare' alongside 'Age of the Understatement,' the differences become more evident.

'Nightmare' has a metal-edge, but still retreats to some pop-infused beats with "Do the Bad Thing," while 'Understatement' is increasingly somber, especially on tracks like 'The Chamber' and 'My Mistakes Were Made For You.'

One of the great things about the Arctic Monkeys is their ability to bring their act to life on stage in front of an audience. When the Last Shadow Puppets come to New York in October for their one of their only US gigs, it will be interesting to see whether this new sound will translate as well live.

The last time I saw the Arctic Monkeys, it was at Hammerstein in front of a sold out crowd. With just over 30 days to go until they play NY, tickets remain available. I expect this first show to be similar to the Raconteurs first couple shows---where a built in fanbase shows up because of one factor, potentially expecting a certain thing. Now one could argue that the White Stripes were a much more well known band when Jack White joined the Raconteurs than the Arctic Monkeys were when Turner hopped into the Last Shadow Puppets---and that is especially true in the US. But, the dynamic of this type of crowd and this type of show will more or less be the same. This is a band that nobody has heard live before, playing a pretty large venue---it could go either way.

Turn on the Bright Lights

Interpol played the Garden Friday night. Honestly, when I first heard that they were playing there I was a little surprised. I didn't think they could sell the Garden, or that their music could fill it. I'd seen them play before, and they were great, but still I (like many others) remained skeptical. Though recently it seems that MSG is taking chances on certain acts and seeing the rewards, with The White Stripes, then Muse playing there earlier this summer.

I still have friends who haven't heard of all three of those bands, so to think that an arena filled with people that know the band, like the band, and bought tickets exists, I don't know what it says about the people who are like, "Who's that?" or whether I live in a bubble with an arena filled with people. I didn't have too much trouble finding someone to go to this show with me, which was comforting because I think it shouldn't be hard to find an Interpol fan in New York and finally I had a friend who was genuinely excited to see a band. (I supposed I've been on an up and down streak lately)

Cat Power opened and I'd never listened to a track of hers before she took the stage, so it was a new experience for me. I didn't love it, she didn't fit the venue and you could tell. She was passionate and the music was good so that was fun, but overall I guess it's just not my scene. I don't really want to elaborate much since I'm kind of tired, but I'm listening to Interpol right now and I've been meaning to write this post all week.

So to the main event. Paul Banks and crew took the stage at around 10 and opened with 'Pioneer to the Falls,' but not before a giant white sheer curtain dropped down in front of the stage. Now this was cool for maybe two seconds, but when the song ended and the curtain didn't fall, I started wondering, are they going to play the entire show behind this thing? Clearly there was a problem, so Paul Banks in between the next song said, "We're going to take a quick break while they get this fucking curtain down." Whatever, not everything can go right--they're trying.

I think the overall sense of the show was positive. Interpol really impressed me and I think this was an important show for them, because if they didn't play it well, they probably wouldn't find themselves there again. I know the show wasn't sold out, but the floor was packed, and I think in the end if there are people standing, and rocking, that's all that matters. The 300 and 400s sections of the Garden are lame anyway.

Carlos D was not sporting a gun holster, but definitely looking dapper in his completely tailored three piece, suit with coattails. He gets his underwear tailored too, by the way. Don't believe me? Here is a quote from 2005,

"In my defense, for any naysayer out there who may call my purchasing underwear from Craig Robinson a sheer and total indulgence, like the excesses of the Louis XIV court before they got their heads chopped off…I say hear me out, that I tried to got the Hanes route or the Fruit of the Loom route and none of those options worked for me at all, just for very different reasons each one tried this type or that type, just none of them…there was always a problem. Then telling this to Craig I don't know what to do I just can't wear anybody's underwear, because it just doesn't work. He was like, dude I'll make you an underwear that fits your exact needs, so I told him what my needs were. Like I don't even feel like I'm wearing underwear, this is amazing."

So what are Carlos D's needs exactly? Whatever the case they fulfilled my needs by playing 'Stella was a Diver and She Was Always Down' in the encore. I was getting nervous that they wouldn't play that or 'Take You On a Cruise.' My two favorite songs. At least I got one.

If you like the dark, mellow sound of true New York rock, I don't know how you can ignore Interpol. I like Editors for different reasons, but these Joy Division style rockers definitely are necessary and everyone gets in the mood one time or another. With this show though, this darkness is that it's finally starting to see the light, and boy is it bright.

Set list below: (Interpol - Madison Square Garden - 9/14/07)

Pioneer to the Falls
Obstacle 1
C'mere
NARC
Say Hello to the Angels
Pace is the Trick
Mammoth
Hands Away
No I in Threesome
Slow Hands
Rest My Chemistry
The Heinrich Maneuver
Evil
Not Even Jail
--encore--
NYC
Stella
PDA
--encore #2--
Untitled

Soaking Wet**

You stand under my umbrella. Ella ella, eh eh eh...

**and this is all I have to say about the MTV VMAs

Listen to These Now

This week's installment has five really great songs from five even better albums. In each case I tried to pick a song that wasn't the "hit single" but still might convince you that the album is worth downloading, and I honestly don't know how anyone couldn't.

I'm really hooked on Okkervil River right now. When I hear about a hyped band, it's tough to go out and download it immediately--I tried with Tapes n' Tapes and I just wasn't totally thrilled, but with these guys I'm really happy with the entire album and when they performed on Conan O'Brien I definitely decided that this album was worth downloading and maybe there was another good song besides 'Our Life is Not a Movie Or Maybe.'

The second album by The Cribs really caught on with me, whereas I tried to like the first one but really couldn't get past 'Hey Scenesters.' See below to know why The Pipettes are necessary to your life, and here is some more KT Tunstall to tide your over until Drastic Fantastic.

Voxtrot opened for Arctic Monkeys at Central Park, but I didn't get there in time to see them--though I did download there album and they sound really solid, so here is a track I enjoyed.

The Pipettes - Pull Shapes

KT Tunstall - Another Place To Fall

Okkervil River - Plus Ones

Voxtrot - Blood Red Blood

The Cribs - Girls Like Mystery

Dirty Dirty Mind

Can I just say that I love The Pipettes? I saw them at Highline some months back and they completely took over the stage. Compared to classic 1960s girl groups such as The Shangri-Las and The Ronettes, they bring a vibe and energy to live music that I think is very rare. I might have mentioned this before but I'm finding myself listening to a lot more female artists, and I'm not sure whether this is because there are more great female artists out there or I'm just becoming a pussy...I'm going to go with the former for now. But honestly, Amy Winehouse, Lily Allen, The Pipettes, KT Tunstall, The Like, M.I.A., The Pierces, and Architecture in Helsinki, Arcade Fire, Yeah Yeah Yeahs, The Magic Numbers, The New Pornographers, Shout Out Louds, and Morningwood have prominent female elements singing elements.

And all this music is equal if not better to their male counterparts coming out at the same time, but it will never gain the popularity of someone like The Strokes because a female act will always be "different." Even The White Stripes which are pretty mainstream right now are still different, and Meg gets bashed an incredible amount so that eliminates that parallel.

Whatever the case, The Pipettes are awesome and I'll gladly be Gwenno's groupie (the Sienna Miller/Lindsay Lohan looking blonde in the picture).

They have an EP out called "Your Kisses Are Wasted On Me" and their album is coming out the US on October 2nd, but I've had it for a couple years now.

I recommend checking them out October 8th at Irving Plaza. I intend to.

Fashion Sometimes Rocks

I attended Fashion Rocks at Radio City Music Hall on Thursday night. Some highlights: Jennifer Lopez was actually really awesome live. Aerosmith wasn't. Jennifer Hudson and Alicia Keys are superstars. Adam Levine is a diva. Mischa Barton is as gorgeous as I've always thought, Jessica Alba is tiny, and Tommy Hilfiger looked stoned out of his mind.

I've never been eye-level close to that many celebrities at the same time, it made me feel so insignificant. Overall, it was fun and kind of tiring, and honestly, a little overrated. All these celebrities, fashion designers, models, and entourages just walking around trying to look the coolest. It made me hate celebrity and want to be one more than ever.

Definitely a neat experience, don't know if I'd do it again---unless I were Natalie Portman's date.

If You Were There, Beware

Arctic Monkeys played Central Park last night, but you already knew that. This was the third time I’ve been able to see one of my three favorite bands, so I was extremely psyched. And each time they’ve progressed in the size of the venue and still sold out. Roseland last summer, Hammerstein earlier this summer, and now Summerstage—it’s a steady progression that I hope continues (aside from a secret show at Bowery or Webster).

Now I’m going to sound snobby for a brief second, but please disregard it and we’ll try to move on together afterwards...

I knew about the Arctic Monkeys before you.

I know, you’re like, “What? That’s not true. I discovered them. I was listening to them first.” Well, I’m sorry to disappoint you, but you didn’t. You might have had their album Beneath the Boardwalk, which wasn’t much of an album but songs recorded live and put together some with names chosen by the people that recorded them. You might have seen the NME cover and been quietly please the tracks already had respectable play counts on your iPod. You might have seen them at Mercury, Bowery, or Webster, with the sold out crowds.

You very well could have done all these things, but I don’t care.

Oddly enough, I don’t run into this problem much. In fact the friend who I took to the show with me had never even heard of the Arctic Monkeys, which frankly surprised me. At this point, I thought they were more than a British sensation; that they appealed to a wider audience then the NME reading Brooklyn vegans, but I guess I’m a little off in my perspective of their popularity.

But I shouldn’t be---they’ve now put out two near-perfect albums (that’s two more good albums than the Strokes currently have under their belt), they have countless EPs with a variety of tracks and covers, they put on a great live show and headline every festival that The Killers aren’t at, and they’ve sold more records faster than the Beatles. Why no Rolling Stone cover? Why no US radio play? What is the deal? These guys are absolutely legitimate—more so than Fall Out Boy, Amy Winehouse, or Zac Efron.

Maybe I’m just too eager. Perhaps they need more time. That’s fine, keep putting out albums, keep playing shows like you did at Central Park, keep ending your sets without encores, keep rock fun and real.

Set list below: (Arctic Monkeys - Central Park Summerstage - 9/5/07)

This House Is A Circus
Brianstorm
Still Take You Home
Dancing Shoes
From The Ritz To The Rubble
Fake Tales Of San Francisco
Balaclava
Old Yellow Bricks
I Bet You Look Good On The Dancefloor
Fluorescent Adolescent
Teddy Picker
D Is For Dangerous
Mardy Bum
Do Me A Favour
If You Were There Beware
The View From The Afternoon
Leave Before The Lights Come On
When The Sun Goes Down
A Certain Romance

Also, listen to 505, a slow song that they don't usually play live.

When The Sun Goes Down

Arctic Monkeys play tonight in Central Park. Get on your Dancing Shoes, there's one thing on your mind. Or at least there should be.

Arctic Monkeys - When the Sun Goes Down

Hold On

I just saw the new KT Tunstall video for 'Hold On' her first single off Drastic Fantastic, out on September 18th. If it's anything like her last, which sold over 4 million copies and picked up three BRIT Awards and a Grammy nomination (oh and by the way, it was absolutely amazing), then a priority for the winter will be catching her live. She's headlining Irving Plaza on September 19th, but have no fear, I suspect she will be returning.

High Res video here. Pics for fun.

Not Boring

The Pierces played Mercury Lounge on Tuesday (this was the second time I'd seen them there), and again they did not disappoint. Though they've been making music and performing for seven years, I'd only caught on to their most recent release Thirteen Tales of Love and Revenge, and it's been one of my favorites since I first heard it.

They were the opening act, but standing there you could tell that they were the act that most of the attendees came to see. From the set, both this time and last, you would not be able to tell that they had made two previous albums, playing only songs off this most recent, well-reviewed, release. The girls give Pipettes style hand motions, and the general forward-nature of their lyrics carries the same attitude. I mean, if you love watching beautiful girls sing well, then this is definitely up your alley, and judging by all the guys there, it looked like I wasn't alone. I even spotted Moby lurking in the back.

Mercury Lounge is the perfect venue for Catherine and Allison, which is unfortunate because after listening to them, you wish that you could hear them on the radio all the time and see them play larger crowds, but their act really isn't tailored to Roseland or Madison Square Garden. It'd be nice to catch them sell out Webster Hall. The first time I saw The Pierces I took a friend and she absolutely fell in love with them, which was neat to see, especially since she had never listened to a note before she saw them live.

"Lights On" and "Sticks and Stones" were both excellent live, but not surprisingly "Boring" is even better live than on the CD. The dark, edgy parody of the Paris Hilton socialites really finds an audience when there is...well, an audience.

As Catherine says in 'Lights On,' "Some people say I want you for your money, but I really want you for your body." I absolutely agree.

Pierce yourself, give a listen:
Boring
Lights On

Listen to These New [sic]

Here is this week's installment, with one twist--all are new songs. Get them while they're hot.

Beck - Timebomb
The Hives - Tick Tick Boom
Hot Hot Heat - Let Me In
The Cloud Room - 24 Hr Heartbreak
VHS or Beta - Burn It All Down

I also considered posting a track of Hard-Fi's upcoming release, which is actually a nice follow up to Stars of CCTV, but after seeing them live once, I can never feel the same about them, and while I will listen to the albums occasionally in private, I will never promote their music and I definitely don't recommend seeing them live. The lead singer reminds me of the soccer player that was a complete dick to everyone in high school (soccer was big in my high school). It's disappointing because their studio stuff is so solid, and the guitarist is really good live, but the singer just can't sing, or he was exceptionally drunk at the show I went to and completely fooled me on his talent and sensibility.

I'm Designer

Queens of the Stone Age are playing the Wamu Theatre at Madison Square Garden on October 13 (this post has nothing to do with Dave, but solid picture right?) and I will definitely be attending, occupying the GA pit of course. Get your tickets here, on sale to the general public on September 8th. I already have mine.

Obligatory Dave Post:

For some reason I never get tired of hearing Dave Grohl scream. I'm also going to commend the Arcade Fire cover, though it sounded like he didn't do anything different with it, I don't know if a metal 'Keep the Car Running' would have necessarily worked.

Any new music from the Foo Fighters is always welcome though, and honestly I think Dave Grohl has entered near untouchable status, 1) because of the obvious Kurt connection 2) enough material to justify his place in rock 3) going drummer to frontman/guitarist 4) because he's fucking Dave Grohl.

Rock on.

Foo Fighters - The Pretender
Foo Fighters - Keep the Car Running (Arcade Fire cover)

I'm Nighttiming, Baby

So I got a copy of Jason Schwartzman's new solo project, Coconut Records, and it is pretty outstanding. I've been semi-anticipating this since I heard his track "West Coast" when it premiered on one of the final episodes of the OC and the only way I could continually listen to it was to download a pirated copy of the audio of that episode, so I was listening to the song with the voices of Taylor and Ryan talking intermittently---which I kind of miss now when I listen to the track. I didn't think he would be able to build an entire album around that one song, and honestly he did some stretching on some tracks.

But overall, it's a neat little album, and I'll probably play it more than I did Phantom Planet (where Schwartzman used to drum before Rushmore fame.)

The title track 'Nighttiming' is incredibly catchy and I can sense an addiction forming.

Here are the two aforementioned tracks:
West Coast
Nighttiming
But definitely check out his MySpace.

Listen to These Now

Another fresh installment, I personally recommend the Arctic Monkeys track, but then again, I fucking love the Arctic Monkeys so I'll always recommend their songs. The Coral are opening for them at the upcoming Central Park show, which should definitely be one not to miss.

The Coral - Who's Gonna Find Me
Arctic Monkeys - The Bakery
Daft Punk - Robot Rock
Interpol - No I in Threesome
TV on the Radio - Blues from Down Here

Die, All right!

Tickets are on sale for The Hives at Webster Hall on October 9th.

I got my two. Did you get yours? I'd get on it, you don't want to miss a chance to Howlin' Pelle.

Refresh your memory:
The Hives - B is for Brutus
The Hives - Hate to Say I Told You So

A Night at the Ritz

It’s been a little over a year since I first listened to Office, and to finally catch them live was excellent. As I mentioned earlier this week, they’ve been one of those bands that I’ve been following peripherally for many months and to see that they are still out there creating great music, drawing crowds, and possibly getting some notice (i.e. releasing a record on a real label), it’s just nice—kind of like The Pipettes or The Magic Numbers, and unlike The Cloud Room.

Listening to ‘The Ritz’ compared to the first track I ever heard, ‘Wound Up’ that fun, dance-rock, feeling still exists but the music is definitely a little more polished, not necessarily more mainstream, because what isn’t mainstream about the lyrics “Let’s go to the beach with a bottle of wine.” I mean who wouldn’t want to do that? That sounds awesome.

I also want to add that the fact that Office has three female (instrument playing) members is incredibly cool, and I think it’s funny that so many bands I’ve been listening to lately have a girl or girls in them. I’m not sure what that means, but as long as the music still rocks, I’m okay with it—though I’ll throw in a metal show like Tool or Van Halen every now and then just to assert my masculinity. I mean, I don’t want to strictly be seeing Lily Allen, Amy Winehouse, The Pierces, The Pipettes, etc., (Wow that is a lot).

As for the actual set, for having such high expectations I definitely felt they delivered—maybe it was because I was like five feet from Alissa the bassist, and it’s tough to say anything negative when you get such incredible proximity. Though, Jessica does know how to give a guy more cow bell (this should be well documented by all the amateur photographers working for going.com or adding flickr photos to their blogs). I was standing next to three or four of these guys who just kept snapping all night, and although I understand the idea and I’m happy that there is documentation—it never ceases to be annoying.

I haven’t had the opportunity to hear the new album yet, but they did humor me with some tracks from there previous album, closing with ‘Oh My God’ and leaving the stage, and then coming back for an encore (something I rarely see at Mercury Lounge) to play ‘Wound Up’ –which really sealed the deal for me.

Overall, the general sound was there, and even though I didn’t know the words or the tunes by heart, I knew their music and I was happy to see that it hadn’t changed, especially when I had hyped up their style and performance so much to my friend.

Here are a few classics, enjoy until September 25 when the new album “drops.”

Wound Up
Oh My
The Big Bang Jump!
Ordinary Offices, Extraordinary Proposals

Official Site
Myspace

Beware of Wombats

The Annex is an establishment that’s name is directly comparable to its layout. When you walk in the door, it’s a sharp, semi-dark hallway that leads you to a second door, which upon opening it you see (when it’s crowded, and probably also when it’s not) a huddled mass of people more or less staring in your direction. There’s a bar and a balcony type thing—but no stage. Until you turn around and see, in what could be the kitchen of a restaurant with the walls knocked out, a performance area with a band, and lights, etc.

It caught me off guard and I immediately decided that I would limit my visits here.

Going to this show was a whimsical decision—having been invited a day earlier to “Come check out” this band. (An offer I could never turn down) So, I downloaded the few songs I could find because The Wombats have never actually released an album yet, and this was their first gig in the United States. It’s always interesting to attend those types of shows because you can just imagine what a big deal it is for the band and you know that they are going to attempt to play the best set of their lives.

I really enjoyed listening to their songs and it made me that much more excited to see them live. Since I don’t really buy CDs that much anymore, I make a honest commitment to seeing the bands I listen to live in concert, 1) because I love live music and can really see what the band is like 2) to compensate for me not actually buying the album 3) because some bands are horrible live and therefore I probably won’t spend much more time listening to their album.

The Wombats are really fun live and I anticipate their first release and potential to be a popular band in that British indie rock genre, like The Cribs or on a larger scale, Arctic Monkeys.

As for the set, it was short and to the point, and you could tell that the crowd was filled with the usual LES wanderers just looking for a good show and people that the promotional firm got to come out. For a Wednesday night, I thought it was a pretty good turnout for a band without a true album playing their first New York show.

They played some songs that I suppose you could classify as hits, mainly because I was able to find them on the internet, so someone out there thinks they’re catchy enough, and Wikipedia puts them on the tracklist to a mysterious LP released in Japan.

“Moving to New York” is definitely worth listening to, and “Let’s Dance to Joy Division” is definitely going to be on my rotating playlist this fall, but right now I have to settle for listening to it on their Myspace page, www.myspace.com/thewombatsuk, which really looks like The Wombats suck. (They don’t.)

All in all, an enjoyable midweek treat and a suitable prelude to another albumless unknown that I will seeing this weekend. Fun times. Can’t wait.

Office Space

I'll be going to Mercury Lounge on Saturday to check out a fun "new" band. I place new in quotations, because like any band starting on the journey to being discovered, it is a completely relative term. And while they are a new band to pretty much everyone listening to popular music right now, and chances are those people will never hear of them---I have been listening to every track I could get my hands on for over a year (which surprisingly aren't that many).

So I'm psyched.

Here is a new song: Office - The Ritz

Listen to These Now

Here is something I will be trying to do weekly. It's basically five songs that I'm listening to a lot and I think it would probably improve your life to be listening to them as well. It's not hard, just download them and play them whenever you're in the mood for something new. I guarantee no duds. This week, here is what's on my mind.

Architecture in Helsinki - Debbie
MIA - Paper Planes
Velvet Revolver- Psycho Killer
The White Stripes - Slowly Turning Into You
The Wombats - Moving to New York

Yeah Indeed

Strangely, for a sold out concert at Webster Hall by a pretty well known band, I had a tough time finding a partner to take hold of my second ticket. Looking back at it now, I suppose I had more options than I thought and I almost wish I woke up that day hoping that someone would drop out of the sky and want to go with me, but then again, that’s the case with most things. I guess I’m just so incredibly well traveled that I’m constantly finding fun things to do but no one fun enough to do them with—or willing to put me first in their “busy” schedule. Then again, I’m partly joking and partly exaggerating.

Regardless, I found myself getting ready for this show knowing for a fact that my friend would not know a single song, and probably won’t like most—which is an incredibly discouraging thought when you’re going to a show. Your concert-going partner is a very big part of the event. They could totally bring down your mood, leave you standing in an area you would rather not be, or worse, would want to leave before the lights come on. People don’t seem to appreciate being invited to these events, and if they don’t know the band, it’s almost like a chore for them. They are there to be impressed and in your mind you spend the night hoping that they are feeling what you’re feeling. It’s tough, and I know I can’t be the only person who goes through this.

Another thing I want to get off my chest. I’m going to say this and I don’t want you to freak out or close the window. I just need to say it.

I like Webster Hall.

There it is. I did it.

I’ve been there thirteen times so I think I have a pretty good idea of what a Webster Hall experience consists of, and every time I’ve enjoyed the concert, the atmosphere, usually the crowd, and pretty much everything else. I’ve never waited outside long, sure drinks are expensive but I usually can get them quickly, the sound is better than everyone says, and the crowd is pretty much always into it, if it’s sold out or not.

Now, I arrived at the show at 9:15pm when it said 7:00pm Doors on the ticket, and I was slightly concerned that the main event might be starting at nine, and I had originally planned to be there at eight. But, much to my delight and surprise, the Yeah Yeah Yeahs weren’t schedule to take the stage until ten!

So, my companion and I walk into the main room after getting a couple of beers and there are two twelve-year-olds on stage singing “Jump Around.” Now I thought this might have been the coolest thing ever—like ever. My friend did not show the same unbridled excitement as I did, so I knew that I should not let my expectations for the evening get too high.

Now this was my first Yeah Yeah Yeahs show and honestly, when I first heard Fever to Tell in full I was not impressed, in fact I kind of hated it. Maybe my tastes changed, maybe it grew on me, maybe I didn’t give it a chance originally, but listening to it now—it’s excellent. Show Your Bones is decent, but I actually like Fever more. When I got the tickets to see Karen O. and her duo, I’m not sure what I was thinking. I liked listening to the Yeah Yeah Yeahs, but I wasn’t a huge fan, and I didn’t have anyone in mind to go. But, I bought them. I wanted to see them. That was it. Worst case, I could sell them.

Ha.

But, then I downloaded Is Is [EP] and I was completely blown away. If there next album sounds anything like this, they might be one of my new favorite bands.

So, the show was incredible. Karen O. lifted Webster Hall to a level I was completely not expecting and she did it all while wearing tinsel which was also unexpected. The set list was great, the crowd rocked to it, and I felt satisfied. It would have even better if I had come alone. [Which I will clarify right now]

Natalie Portman apparently likes the Yeah Yeah Yeahs. You know how I know this?

She was there.

Not in the VIP balcony, not backstage, just hanging out on the floor, in the crowd—towards the side. I find this to be another reason why this girl is absolutely perfect. She’s Jewish, went to Harvard, is a famous and talented actress, and is unbelievably stunning (shaved head or not).

Well, someone I know actually talked to her at the show, and I wasn’t introduced, set up, or allowed to sweep her off her feet, which is a darn shame for her.

I should have come alone, I could have moshed to Karen and talked to Natalie and all would have been right with the world. Instead I stood and pondered an alternate existence while listening to some pretty solid rock.

All in all, not that bad.

Set list below: (Yeah Yeah Yeahs - Webster Hall - 8/7/07)

Sealings

New Untitled Song
Honeybear
Rockers to Swallow
Phenomena
Cheated Hearts
Gold Lion
Pin
Kiss, Kiss
Down Boy
Art Star
Maps
Turn Into
Date With the Night

--Encore--
Y Control
Black Tongue
Our Time
Tick

aMuse Me

I arrived at the Garden as the Cold War Kids were about four songs into their set, but just in time to see ‘Hang Me Up to Dry,’ one of their catchier melodies. As they wrapped up the final song, they lunged into an instrumental fray forcing every possible screech and slam out of their tools.

Almost battling for sound, in what felt like something Modest Mouse has mastered, Cold War Kids yelled and banged their way to completion—somehow making music worth nodding to, but it felt more self-serving than crowd pleasing as each member attempted to milk the seconds on this grand stage that they will probably never play in their own right.

House lights up.

The crowd is eclectic—ranging from coifed wannabe hipsters sporting iPhones paid for with parental funding no doubt to jocks waving to their not so lucky pals sitting in the rafters, with all the requisite skater chicks, aging rockers, and gleam-eyed first time concert goers that you’d spot at any arena show worth a damn. But, like any New York concert, pairs of black and grey converse line the floor—the uniform of our youth and our city.

The Klaxons “Magick” starts up on the house stereo—those who recognized the beat looked to each other with a knowing glance. Perhaps they saw the band at Bowery and were looking for a reason to strike up a conversation.

Oddly, a handicapped person motors his way into the center of the pit, squashing any chance of a pit worthy of the considerable rock that was ahead; but wait—he’s moving.

AC/DC's “Back in Black” hums as the drum kit is unveiled and the crowd’s cheers grow louder. Now I can feel it in the air, this is going to be one of those shows. These people are ready to be here.

In front of me, a girl says to her friend, “You should sign up for eHarmony.com.” And from the looks of it, I don’t even think that would help her.

Minutes later, the crowd is truly back in black as the lights start shutting off throughout the arena. Row by row, Madison Square Garden is enveloped in darkness.

Suddenly, a familiar voice blares over the loudspeaker, speaking of secret societies and man’s need to be free and independent. For a brief second, I feel like Zach De La Rocha is going to march onstage. While most bands’ usage of political rhetoric to may come off as out of place—John F. Kennedy’s speech excerpt actually worked. Matt Bellamy has stated that his music has become more influenced by politics but he never wanted to come off preachy.

In a time where rock music is no longer the counterculture and cannot generate mass protest like it once did because it is the mainstream—the return of Rage and moments like this at Muse are refreshing for those of us who feel helpless in our desire to get the word out there.

But then again, it’s no secret that corporations and governments are corrupt—and the t-shirts are $30 and the tickets are $50—so what exactly are we selling here?

Regardless, the moment fit.

They blasted into Knights of Cydonia to open the set, setting the stage for a special evening as this song is usually used in encores.

The energy was electric as each song resonated with the crowd and you realize how many solid works that this band has put together. The three opening songs could have very well been the three closing songs.

After attending the White Stripes at the Garden and being thoroughly disappointed with the demeanor of the General Admission crowd, (I mean how could you stand still when Jack pulls out Fell in Love with a Girl and Seven Nation Army in the same set? This is from a guy who shies away from “hits”). But this crowd was going to be different. One girl behind me hoped it wasn’t as crazy as the Red Hot Chili Peppers show here in 2003. I quietly hoped it was.

The rest of the set played out as only one could wish. Solid song after solid song—finished with an amazing rendition of New Born, a track that is even better live than recorded, and Plug In Baby—one of the more metal songs in their collection that was accompanied by giant balloons filled with confetti, a trick I saw them pull at a show in North Carolina that never gets old.

They thanked the crowd and walked off. Now came one of the most moving sights I’ve ever seen at a show and reminded me of what it could have felt like seeing Van Halen or Led Zeppelin in an enormous arena.

Slowly the audience began to light up, but not with the house lights indicated the completion of the show, but rather with glowing LCD lights from cell phones, blackberries, and the old fashioned lighter. It was a true light show and when the band reappeared on stage you could tell that they knew this was not the normal reception for a Garden show. Dominic turned toward Matt and you could read his lips as he said, “Man, check out all the lights.”

The encore started slowly with Soldier’s Poem, but then fast-forwarded to one of the greatest rarely-played songs in their catalogue. Matt even said into the microphone, “I think this is the first time we’re playing this song in the United States.” Unintended was exactly what this crowd deserved, and even though it was written on the set list, you had to hope that they pulled it out only because we gave them no choice. We were different.

With the crowd simultaneously subdued and charged—Matt lurched in Stockholm Syndrome; eleven minutes worth and finally closed with Take a Bow accompanied by an incredible laser display and CO2 explosions on the final chord.

Exit stage left. Lights on for real this time.

I can’t hear, but can’t stop smiling---that was a show.

Set list below: (Muse - Madison Square Garden - 8/6/07)

Knights of Cydonia
Map of the Problematique
Hysteria
Supermassive Black Hole
City of Delusion
Butterflies and Hurricanes
Hoodoo
Apocalypse Please
Feeling Good
Sunburn
Invincible
Starlight
Time is Running Out
New Born
Plug in Baby
--Encore--
Soldier's Poem
Unintended
Stockholm Syndrome
Take a Bow