100 Shows of 2010 - #93: The Ferocious Few @ 9:30 Club, 11/27/10

Sometimes I find myself way, way, way more excited about an opening band than a headliner. Either a band I'm totally digging or curious about gets added to a random major act's bill, or a band I'm totally digging or curious about is opening for some other indie band. It's not an everyday occurance, but it does happen quite a bit. And it happened recently, when I went to witness the live fury of those two dear San Franciscans Daniel and Francisco known to one and all as The Ferocious Few. Most of the packed house was quite possibly there specifically for the main event, Miss Cyndi Lauper (who Chris reviewed a few days ago), but yours truly was there for naught but the Few. And my friends, do they ever put on one heck of a rock&roll show.

MINI RECAP: The Ferocious Few = Wolfishly Fierce! Overall Score: B+

Sometimes touring with a major musical force must be a little bit of a challenge. After all, you've got to deal with the hordes of people who are attending this show solely for the purpose of seeing their beloved headliner, and have no interest whatsoever in whatsoever opening band is warming up on whatsoever evening. In such cases, the bands have to work terribly hard to turn heads and open ears. Luckily, I think The Ferocious Few was up to the challenge of winning over all of those 80s nostalgists (and their kids!), and I saw quite a few bobbing heads and attentive eyes directed their way during their (not nearly long enough!) set.

Many of you will know how much I loved (i.e. LOVED) the record Juices, the fine, fine filthy rock outing by these Ferocious Few. That raw, predatory straight-up rock of theirs sends shivers up my spine and then some. And mercy me, it did the same dang thing to me in the flesh. And then some. "Me And The Devil", one of my most favorite tracks off Juices, was rampantly on-edge, showing off the Few's (un)holy trinity of Francisco's impossibly perfect vocals, razor-sharp guitars, and Daniel's skin-lashing drumming. It's simple, but classic. Sometimes it does only take two to make a thing go very, very right. I was also particularly fond of "The San Francisco Song", just Francisco and his guitar, prettily-strummed and provoking of thought ("I got no desire to be a fly-by-night radio sensation").

I got one heck of a kick out of Francisco's introduction to the snarling "Gasoline & Cocaine", as he smirkingly called it a "song about sustainability." Daniel's arms and legs were furiously akimbo during this song in particular, giving him an almost Gumby-ian presence behind his kit as he smashed the drums with animalistic strikes. They closed it down with "Crazy Love", the perfect song for those ragged tinges in Francisco's tremendous yet tender voice, fierce and lonely all at once.

As good as they were, and believe you me little loves they were very good indeed, I can't wait to see these two live in a smaller venue, headlining in their own right. I can't even imagine the levels of awesome that might be reached.

mp3: Porcelain Doll (The Ferocious Few from Juices) (song from the most excellent Bay Bridged)

100 Shows of 2010 - #84: The Phantom Band @ 9:30 Club, 11/1/10

Of all the shows I've been totally excited about this year, there's one show that stands alone thus far as my most highly-anticipated show of the year. That, friends, would be those deliriously delightful Scots of The Phantom Band, otherwise known as the apples of mine eye. Ever since yours truly first heard the siren song of their record Checkmate Savage, I was in smit with their rugged, weird, glorious noise. So it was only natural for me to want to see the fantasticalness of those songs in the flesh. I probably would have been crushed beyond salvaging if the boys had been anything other than as wonderful as I had hoped. Thankfully, they were amazing.

MINI RECAP: The Phantom Band = Ya Dancer! Overall Score: A

They might have been the first band of the night, ladies and gentlemen, but as good as both Plants & Animals and Frightened Rabbit were, and they were very very good, this show was all about The Phantom Band, at least as far as I'm concerned. Their set was superb from the very beginning, putting forth as they did an astonishing rendition of "Throwing Bones" that sounded inescapably loud and haunting and just plain wonderful. Truth be told, I was there for the Checkmate Savage stuff, but it was rather interesting to get an earful of the offerings from sophomore record The Wants (don't worry, I'm sure I'll foam at the mouth about it soon). The new songs were rather a departure from the older, and took the band out of the glens and into the dancehalls. The darkness of their overall sound with some quite danceable beats made for one hell of a juxtaposition.

One of the stratospheric highs of the set came when the band launched into "Folk Song Oblivion", my second favorite of all Phantom Band songs. The sound, which ambles and rambles anyway, seemed even bigger yet even more stark than on record. Your guess is as good as mine, friends. However possible, it was magic. They have a way, much like British Sea Power to whom I think they are distantly related, sonically-speaking, of incorporating, intentionally or not, the natural landscapes of their motherland into their music. They can be terrifying, enthralling, and beautiful, and oftentimes all at once. My one complaint, albeit a minor one, was the omission of my absolute favorite song "Halfhound" from the set. Next time, please, lads.

I'm just gonna go ahead and state definitively that The Phantom Band is one of the best live bands around. They are louder, they are much more interesting, and they are inherently more charming than about 95% of bands out there. So do yourself a favor and embrace the brogue. You'll be ever so pleased you did.

mp3: Walls (The Phantom Band from The Wants)

mp3: Folk Song Oblivion (The Phantom Band from Checkmate Savage)

Otherwise Engaged: Ariel Pink’s Haunted Graffiti/Os Mutantes

It is an unfortunate reality for the serious concertgoer that on occasion, there will be more than one show on any given night that you really, really, REALLY wanna go to. Since the vast majority of us don't own a time machine, nor have the ability to either clone ourselves or split ourselves in half (or thirds or quarters, depending on the night in question), this tends to present a problem. Difficult decisions are made based on a multitude of variables (perhaps some of you even make lists of pros and cons), and ultimately, a show is chosen. But those other shows are still gonna be killer, and I'd like to give a little face time to the shows that, while I can't go myself, are highly recommended all the same.

One could say that all things weird and wonderful, all sounds great and small were made by the Animal Collective-approved Ariel Pink’s Haunted Graffiti and the bewitchingly bizarre Os Mutantes. There’s gonna be all sorts of psychy-electro-trippy-dippy wackiness happening when LA meets Brasil and new school meets old school at the 9:30 Club this very evening. I suspect there might also be a whole lotta dancefloor action, as well. If you're in the DC area and in need of something to do this holiday evening, consider yourself booked. Just make sure to bring your dancing shoes.

mp3: Round and Round (Little Loud Remix) (Ariel Pink's Haunted Graffiti from Before Today)

100 Shows of 2010 - #83: Local Natives @ 9:30 Club, 10/28/10

I tell you what, y'all. The day of the Local Natives show was pretty craptastic, which made it all the more imperative that my soul be soothed by the most excellent sonic splendor of Local Natives. I realize it's a heavy burden to place such an emotional crutch on a traveling band, but I was fairly sure Local Natives could handle the pressure. After all, this is a band that's made the leap from DC's smaller venues to the legendary 9:30 Club in a matter of months. The sold out crowd was abuzz with anticipation, and we all waited to see just how much the seriously amazing (on record) band could bring it in person. The answer, of course, was a whole heck of a lot. Witness, my friends, live musical awesomeness.

MINI RECAP: Local Natives = Lusciously Noisy! Overall Score: A

Striding out to David Bowie's "Modern Love", the band worked the crowd into a frothy lather of love from the word go. The band was, inconceivably, better live than on record. From the ferocious feistiness, rollicking rollers, and big badness, Local Natives was nigh on brilliant. A cover of the Talking Heads track "Warning Sign" proved a good move, with the prettiness of the Natives adding new dimensions to the oft abrasive Heads. When it came to their own songs, the band at times gave me chills. "Wide Eyes" was particularly stunning, verging on haunting as the notes soared and filled every molecule of the room (well, every molecule that wasn't already crammed with people). It was at this moment that someone standing near me opined, "They're not bad," and I'd venture to say that's one of the biggest understatements of the year.

"Shapeshifter" was another goosebump-inducer, while slightly less china-delicate than on Gorilla Manor it was still glorious, a hazy swirl of loveliness. For some reason, at times I found myself thinking of that Kings of Convenience record, Quiet is the New Loud, and how Local Natives kinda turns that sentiment on its ear, seeing as they can somehow do both simultaneously and quite splendidly.

I'll say this, whatever voodoo those boys do got me feeling all better. My shitty day instantly became a thing of the past, lost in the ether, as those sunny sounds took hold of my brain. Local Natives is definitely proof that some fine live music can heal your soul.

mp3: Wide Eyes (Local Natives from Gorilla Manor)

Newsflash!: Win Tickets to Ariel Pink's Haunted Graffiti!

Dear DC friends! Do you have plans Thursday evening? No? Well, you could! We've got a pair of tickets to see the weird and wonderful tour pairing of Ariel Pink's Haunted Graffiti and Os Mutantes, as they take over the 9:30 Club for what will surely be a night of splendid sonic insanity. And you could be going! Simply drop us a line and tell us why YOU should go to the show. Winner will get a pair of tickets! Simple as that. Contest closes tonight at 10 EST, so get your skates on! Here's a fancy remix to get you in the mood.

mp3: Round and Round (Little Loud Remix) (Ariel Pink's Haunted Graffiti from Before Today)

100 Shows of 2010 - #82: Die Antwoord/Rye Rye @ 9:30 Club, 10/27/10

Some of you quite very possibly remember a little band called the KLF. They came from Britain, and they got the kids movin' and groovin' with their big bastard songs. They reached rather stratospheric heights of popularity, and even went as far as to burn one million pounds, just because, well, they could. Turns out, it was all a big joke. Fast forward to now and we have perhaps another example of the joke band phenomena. When it comes to South African duo Die Antwoord, one must ask "are they or aren't they" when it comes to being legit. Bona fide bandness aside, one thing probably can't be disputed. Seeing Die Antwoord live is a pretty amusing and entertaining way to spend an evening.

MINI RECAP: Rye Rye = For Real! Die Antwoord = Who Cares! Overall Score: B+

Ok, so you can totally question whether Die Antwoord is for real or not. However, this question most certainly cannot be asked of Miss Rye Rye. No sir. No way. No how. This lady is all sorts of for real. I mean, anyone who brings along three strapping, shirtless fly boy dancers cannot possibly be anything other than straight up For Real. From the giant mega beats and seriously funked up grooves to the early 90s nod of the dancers (including Lady Rye Rye herself, let it not be said that chickadee doesn't work hard up on that stage), her set was mostly killer, very little filler. You can see why MIA is a fan of hers, what with the sassy lyrics and intrepid dance moves. I was beyond impressed by this girl, y'all. Hot damn.

Die Antwoord, oh Die Antwoord. Are you faking it? I have to say, I probably am closer to believing in their KLF-ness than their legitness. But that begs a question of its own: Does that even matter? When it comes to being straight up entertained, Die Antwoord, faux or no, get the job done. Their DJ, especially, impressed me. Behind that silly ape mask is a man (or large lady) who knows how to lay down some bitchin beats. The dastardly duo out front, too, know how to work a crowd. The pauses between some songs were too long and gaping, but the banter and the overall stage presence were pretty fine overall. And they worked the rather large crowd into quite a lather. They seem to be obsessed with ninjas, though, but who doesn't like a good ninja every now and then? Perhaps Die Antwoord does have a case of the KLFs, but perhaps sometimes it's good to have a giggle at the sillier side of the music industry. And hey, if they're totally serious, well, that's also pretty funny.

I wasn't expecting too much out of this night, for some reason, but I have to say I had a really good time. On the one hand, Miss Rye Rye threw down some serious good times, and on the other hand, well, there was the tomfoolery of Die Antwoord. And I had a smile on my face all night.

mp3: Enter The Ninja (Die Antwoord from $O$)

100 Shows of 2010 - #71: James/Ed Harcourt @ 9:30 Club, 9/27/10

I've tried and tried and tried to come up with a suitably reverential opening for this review. But even as much as I can foam at the mouth about how wonderful certain bands are, I don't think I can adequately express to you just how amazing, how sensational, and how breathtaking the James and Ed Harcourt show was. On the one side, you have a beautiful, haunting voice (Ed Harcourt) full of ethereal moments and seductive loveliness. On the other side, well, you have much the same in the frontispiece for James, Tim Booth. It's in contention for my show of the year, and was nearly a religious experience. For real, y'all.

MINI RECAP: Ed Harcourt = Elegantly Hypnotic! James = Jaw-dropping! Overall Score: A

Somehow, shamefully, I'd never seen the divine Ed Harcourt before. I know, shame on me. I really should have my head examined. Onstage were three easy pieces, Ed, his keys and guitar, a drummer, and a lady bassist. The richness of the instrumentation was the perfect backdrop for Harcourt's vocals; those incredible, pitch-perfect, honey-coated vocals with equal parts languid enticement and thoughtful sentiment. The sound of this trio was sheer magic, hovering in the starry realms of twilight fantasies and secret, sweet rendezvous. I fell in love over and over again, thanks to lyrics like, "I wish that I was fiction/I wish that I was fact," and "Are you cursed or are you blessed?". Despite the fullness of the band's sound, the songs had a remarkably intimate quality, leading me to feel like the songs were sung only to me (what a delightful notion). To me, Ed was at his absolute best in songs like "The Trap Door", a slight huskiness in his voice giving him a very tender, very sexy appeal. The combination of Ed's guitar strumming and that voice was brutally gorgeous. It made me melt. For some reason, I feel like there's a hint of nostalgia to Ed, as though he is not quite of these times. Which, my friends, is a very good thing indeed. It was a beautiful, beautiful set.

And then, it was James. Despite being another formative British band in my youth, I never had the joy of seeing the band live. The band took the stage to a deafening roar, and the surprisingly loud crowd didn't seem to stop cheering all night. I really couldn't take good notes, so in awe was I. They pulled from all periods of their long, wonderful career. But what got me most of all was my favorite trio of James songs: "Getting Away With It", "Say Something", and "Sometimes (Lester Piggott)". I'm pretty sure I teared up at one point. It was just plain spectacular. The sheer glory of the band, the sheer magic of Tim Booth's voice, and the sheer nostalgia of it all. And I had no idea Booth was such a crazy dancer! He writhed and whirled all over the place, all arms and legs flailing artfully. I got chills from the word go, and they didn't leave me for the rest of the night. As the band bounded enthusiastically through megahit (and Britpop dance night fave) "Laid" and feathers rained down on the floor from the rafters onto a sea of blissful James lovers, I thought to myself, does it get any better than this? The answer, friends, is probably not.

We Yanks don't get many chances to see the old guard. So I do hope you'll take advantage, my loves, when bands like James and Ed Harcourt come to town. Drop what you're doing, cancel all other plans, and prepare for one hell of a night.

mp3: Say Something (James from Laid)

100 Shows of 2010 - #66: The Drums @ 9:30 Club, 9/12/10

We all know how much Sunday nights can totally suck. The weekend is inevitably coming to a close, the work week is about to begin...so Sunday evenings are oft spent on the couch, mourning the loss of two days of freedom while watching The Glades (hey, it works for me). But this particular Sunday, I decided it was time for some serious rock and roll. As luck would have it, The Drums was playing the 9:30 Club, and seemed well up to and equipped for the task of rocking me, baby. When I got home from their set it was a lot closer to Monday morning, but I was a whole lot less concerned. I went to sleep feeling totally and utterly rocked and rolled.

MINI RECAP: The Drums = Sasstacularly Spunky! Overall Score: B+++

I felt an instant affinity for these hyped-up New Yorkers, even before they played a note. Their look, and really, it is a pretty serious look, reeled me in. Think 1980s Smithsian, but whereas Morrissey and Marr wore their shades of gray on their sleeves, literally, The Drums opt for a bold and bright take on their retro love, which matches the overall vibe of their music. I was immediately aware of the serious stage presence of their frontman, the prancing and preening Jonathan Pierce, who sashayed splendidly around the stage for the duration of their set. Puritanical purists, avert thine eyes, but Pierce seems to me like some kinda Freddie Mercury/Ian Curtis hybrid, blending the peacock strut of Mercury with the empassioned twitching of Curtis. While the music of The Drums doesn't quite align with either band (especially the full-throttle bombastic operatics of Queen), the resemblance was, to me, uncanny. Throw in an ocassional vocal reference to Ian McCulloch, and you're getting warmer. And I found it all rather delightful, and impressive, when Pierce managed to wriggle out of his red satin bomber jacket without putting down the mic or even batting an eyelash.

Any band that cites Orange Juice as an influence wins favor from me, and the sound of the great Scots certainly permeates here (I'd also throw in a nod or two to that other band of amazing Scots, Josef K). The melodies and the arch poppiness of the rocking was drenched in Scottish (and English, too) shades, though Pierce's voice took things way over the top. In a good way, of course. The songs were hypnotic, and pretty much irresistible. Between Pierce's vocal antics and the lipstick gloss of the guitar to that machine gun drummery, it was a glorious little set. I'm not sure where this band has been all my life, but I'm glad they're here now.

I'd have to say my only real complaint about the set was that, well, it ended, and that at times the vocals seemed a wee bit muddy. But other than that, it just doesn't get much more entertaining, my little lovelies. Lucky for you, the band is still in the midst of a major US tour, and will be popping over to Europe in a few weeks to spread their love amongst the peoples of the EU. I seriously, forcefully, and earnestly encourage you to spend a night with The Drums. You won't be disappointed.


mp3: We Used To Wait (Arcade Fire Cover) (The Drums from BBC3 Session)

100 Shows of 2010 - #46: Chromeo @ 9:30 Club, 7/26/10

It was bound to happen. Inevitable, you might say. It finally happened on July 26, when yours truly went to judge not one but two gigs. Yes, friends, I was double-booked. And how delightful it was, two shows in one night. I highly recommend it. First up, after a kind last minute offer from my lovely friend Laura, was Chromeo, shimmying and shaking all over the place at the 9:30 Club. It was ridiculously over the top, get up get down fun, and I’m pretty pleased to have seen this dynamic duo in the flesh.

MINI RECAP: Chromeo = All Business! Overall score: B+.

Even before Chromeo appeared, the die-hards down the front were chanting for them (“Chro-me-o, Oh-oh”) loudly and lustily. I can’t think of the last time I was at a gig with such urgency from the crowd before the band took the stage. When the duo did emerge, the populace of the club went absolutely insane, and didn’t really let up from there. The guys themselves, a big dude in a white wifebeater and a skinny dude in even skinnier jeans and shades, looked pleased as punch to be there, full of smiles and seemingly feeding off the energy of the assembled. I wouldn’t have put the two together, but Chromeo showed me once and for all that Montreal knows how to get their groove on. Perhaps my favorite part about Chromeo is their keyboards: held aloft by lighted mannequin legs, somehow the most appropriate vessel for them.

Natural showmen, the pair had the crowd eating out of their hands effortlessly. They know how to work a room, and then some. The beats were big, the vocals were verging on silly, and I was smiling the whole time. It was a feel good kinda set, a set to leave your inhibitions at the door and just dance til you can’t feel your feet. Every kinda soul you can imagine was at the 9:30, from the glow-jewelry crowd to the be-khakied, and everyone was having a grand ole time. Hard to tell if the boys take themselves seriously or are merely poking fun at anyone and everyone, but I was well entertained. If you ever find yourself needing a night of carefree dancefloor abandon, you could do a lot worse.

mp3: Don’t Turn The Lights On (Chromeo from the forthcoming Business Casual)

100 Shows of 2010 - #42: She & Him/The Chapin Sisters @ 9:30 Club, 7/7/10

Please forgive me if I’m turning into a broken record, but there was a time, not too long ago, when for one reason or another, I wasn’t all that fond of female singers. Yeah, I can’t really explain it either. Thankfully, that period of unjust musical discrimination against my fair gender has passed, and I fully appreciate when one of my fellow ladies has serious pipes on her. As luck would have it, I was able to see not one, not two, but three such fierce little ladies do their thing last Wednesday, and it was, friends, rather an awesome spectacle. Between the raw, stripped down harmonies of the California dreamin' Chapin Sisters and the fantastical, retro country pop stylings of Miss Zooey Deschanel of She & Him, sisters were definitely workin’ it out. And yes, for those of you that were wondering, Zoeey was indeed wearing black tights. Even in the DC heat. Girl is dedicated.

MINI RECAP: She & Him = Be Still My Heart! The Chapin Sisters = Swing Low Sweet Chariot! Overall score: A.

The Chapin Sisters, brothers and sisters, are nothing short of magnificent. They walked onstage, resplendently reminiscent of the 70s with their long, pastel dresses and long, sun-kissed blonde locks. From the moment they opened their mouths, they did nothing short of blow me away. Their voices, o their voices. Breathy but so full, big and bold but delicate at the same time. Perhaps the most impressive thing about the sisters Chapin (Lily and Abigail, just so you know), is that regardless of the stage configuration, i.e. with acoustics and a tambourine or two, with backing from the gents of She & Him, or just plain singing, they will absolutely leave you breathless. Among their beautiful original material was a song dedicated to the “original bad girl, Britney Spears,” a cover of said Brit’s “Toxic”. Suffice it to say, the Chapin version is infinitely better than the manufactured original. If that sounds like a backhanded compliment, believe you me, it’s not. These ladies can outsing just about any gal out there. Those glorious, haunting harmonies are nothing short of intoxicating. They did ten songs in their set, and they could have done ten more, and still I would have wanted more.

After the too-soon departure of The Chapin Sisters, after a short interval it was time for the sold out crowd to welcome She & Him to the stage. I held off listening to the new record, Volume Two, because I wanted to hear it live for my first time. And I wasn’t sorry about that, no sir. It had been two long years since I saw M. & Zooey’s band play, not since the Virgin Fest of 2008. At the time, I decided that to me, Zooey sounded like a baby Patsy Cline, and my opinion hasn’t changed. They began with a wonderful rendition of “Change Is Hard”, and a dude near me made an epic understatement as he commented, “She’s got a good voice.” The sound was deliriously good, wistful, mournful tones of twang all over the place. One of the high(est)lights came early, with a seriously killer version of “I Was Made For You”, featuring the cooing and girl group stylings of The Chapin Sisters (who, adorably, had changed into outfits of charcoal dresses and black tights, to match Zooey). “I’ve never been to DC before,” proclaimed Zooey, before the band stormed through one of my favorites, “Black Hole”. I will forever love the sadness hidden behind the perkiness, and the line “I’m alone on a bicycle for two.” Glorious.

The first few songs were all from the first record, but the band soon mixed things up. The new tunes felt comfortably familiar alongside those from the first album, though they were definitely less country-tinged. As per usual, “You Really Got A Hold On Me” was stunning, with Zooey and M. trading vocals backed by an acoustic guitar. And oh, how the little ladies in the crowd went absolutely crazy every single time M. sang a note. It was incredible, the level of frenzied shrieks. “Brand New Shoes” was perfect. “Ridin’ In My Car” was perfect. And then they went and pulled an almost unfair trick from under their collective sleeve. “We’ve never done this song before but we’re gonna do it for you guys,” Zooey declares, before the band launches into an impeccable, irresistible cover of the Beach Boys’ classic, classic summer song, “Wouldn’t It Be Nice”. It was sheer bliss.

Looking back on it, this show was definitely in the top handful of shows I’ve had the pleasure of attending this year. Both bands really, really wowed me. The Chapin Sisters, well, they were just plain exquisite. Make their acquaintance immediately (hint: they’ll be back on the road later in the year). As for She & Him, they were even better than the last time I saw them. They’ve developed into one of the finest live bands around, if I may be so bold as to say so.

mp3: I Was Made For You (She & Him from Volume One)

100 Shows of 2010 - #33: The Brian Jonestown Massacre/The Young Sinclairs @ 9:30 Club, 6/9/10

Now this, this is what I’m talkin’ about right here. Take one of my favorite bands of all-time, in this case The Brian Jonestown Massacre, throw in those darling upstarts/reigning Best Band In The Commonwealth of Virginia, in this case The Young Sinclairs, and have them play together at the best club in, well, anywhere, in this case the 9:30 Club, and amazingness will undoubtedly ensue. And sure enough, ensue it did.

MINI RECAP: The Brian Jonestown Massacre = Too Good! The Young Sinclairs = Too Good! Overall score: A.

By now, I’ve lost count of just how many times I’ve seen The Young Sinclairs (otherwise known as the pride of Roanoke) over the past couple of years. I’m sure I’ve said it before, but this band just gets better and better with each and every live outing. Having seen them handle themselves so well here with such legendary heavyweights, I think it’s safe to say these boys are destined for success. It made me more than a little proud to see them pass their 9:30 Club test with such flying colors. Their psych revivalism is the perfect fit for an opening slot with The BJM, and their pitch-perfect harmonies and overall lush sound filled the club beautifully. They jingled and jangled and popped all over the place, and frankly that Sam has gotten pretty precociously sassy up there in his frontman duties. Cor, blimey! They left it all on the stage, from their idyllic dreamscapes to their more British Invasion tunes. They’re all grown up, and they were sensational. Watch this space, that’s for damn sure.

And then it was time, for the second glorious time in two glorious days, for more of my beloved Brian Jonestown Massacre. Their set was very much like the Philadelphian set of the night before, which surprised me just a little, as I was expecting a whole different set. But I suppose when what you’re doing is so good, well, there’s no reason to change it. It could just be because I love the 9:30 and do not love the TLA, but I got the sense the band was a little more into the show on this night. Anton was just as withdrawn to start, and by the time second song “Vacuum Boots” had finished I’m pretty sure he still had yet to even glance at the crowd. But genius can be peculiar.

During a rather fabulous version of “Wasted” off the fabulous Methodrone record, Joel totally made me love him even more by rocking not two, not even three, but four maracas (two in each hand, of course). “Servo” was amazing, and got the kids shakin’ and shimmyin’ in the audience. “Anemone” was utterly transcendent, giving me chills and goosebumps and a tingly spine all at the same time. That has to be one of the most perfectly seductive songs, musically-speaking, of all-time. “Jennifer” was great once again, Anton still an island over on the left of the stage, but the band totally in top form all around him. “Wisdom” just about brought me to tears with that powerful psychgaze swirl. The Matt Hollywood classic “Not If You Were The Last Dandy On Earth” was perfect as usual, “Who?” was perfect as usual, and “That Girl Suicide”, well, that too was perfect as usual. The band finished strong with “Oh Lord” and “Satellite”, and then they were gone, having so successfully given the people what we so lustily clamored for.

Dear friends, I must say, it was one of my top shows of the year thus far. Seeing this show at this club is a special thing indeed. If you’re not already on The Young Sinclairs’ bandwagon, get right to it, and if you haven’t yet seen the BJM yet (or even if you have), make sure to get out there and experience them for yourselves. These bands are musical salvation. Let the good times roll, indeed.

mp3: Oh Lord (The Brian Jonestown Massacre from Take It From The Man!)