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Concert Review

Triangle locals take the stage at Kings

By C Creature

Saturday night at Kings Barcade brought a packed house and good tunes from the killer line-up of headliner Annuals, Luego and Jenna & the Jintlemen. I was super excited about Luego as I saw them a few months ago and knew they put on a good show. I had heard good things about Jenna & the Jintlemen and after meeting the lead, Jenna Smith, a few weekends ago while out with friends, I was excited to see her and her “Jintlemen” do their thing. Headliner, Annuals, had their national debut on Late Night with Conan O’Brien, so having never seen them perform, my expectations were high.

When I got there Jenna & the Jintlemen were just finishing up with two songs left in their set; however, I only needed to hear about 30 seconds to know that I loved her voice and band. She’s got a sweet, dreamy and delicate voice, which makes listening to her easy and ever-so-pleasant. Since I was late, I’m not sure if she played “Marcello, Marcello,” but that is one of my favorites by her and it showcases her voice beautifully.

After Jenna & the Jintlemen exited stage left, Luego took the spotlight to bring us some indie/alternative country rock, a few of the songs laced with a soft Spanish influence (especially those from the Ocho album). Lead, Patrick Phelan, has a unique voice and is unmistakable for anyone else’s in the Triangle and definitely makes you think of voices like Paul McCartney’s and Bob Dylan’s…maybe a little Rod Stewart. Dressed in a simple white v-neck decorated only by an ambiguous rectangle rolled into his sleeve (he claimed they weren’t “real” cigarettes), grey Levi’s and cowboy boots, he convinced me we were in years bygone. His  songs have lyrics that  are simple and melodic with out being kitschy. Supported by Peter Holsapple, William Moose, Mark Connor, Cameron Lee, Charles Cleaver, Jeff Crawford and Will Goodyear, Luego is a collective band of friendly, endearing outlaws just singing about what they know. I’m honestly struck by how classic the themes of their songs are and how good they pull it off. Some bands try and seem like they can sing songs like “You Better Run,” or “Atta Boy,” or “Jesse James,” or “How ‘Bout Them Rules,” but can’t with out sounding painfully cliche. Luego has a great talent for using their inspirations to make fresh songs that only later make you think, “Wow, that sounded kind of like ’_______’.”

Standing in the crowd officially feeling like if I walked out side I’d see cacti, tumbleweeds and maybe a sheriff, Luego finished and was rewarded with gracious applause from the crowd. Luego smiled, said thanks and introduced headliners, Annuals.

Now, as I previously stated, I’ve never seen Annuals perform before; however, I’ve heard nothing but great things from people whose music taste I respect AND they’ve played on Conan twice. While they were setting up, people continued to pour into the venue, showing me just how serious of a fan base they have and just why they headlined: people love them.

However.

I do not, I found out. I was actually really disappointed because I just knew that after Jenna & and the Jintlemin and Luego, two groups I love, Annuals would only further my “I’m at such a great show” high, but as it turned out, they did quite the opposite and sobered me up. Led by Adam Baker and supported by Kenny Florence, Mike Robinson, Zach Oden, Anna Spence and Nick Radford, they sang a bunch of songs I couldn’t understand the words to and really didn’t care to find out. I was reminded of too many songs I listened to when I was 16 and add that to Adam’s “yell-singing” as I call it, I just had to shake my head. I expressed my concern and confusion to a compadre of mine at the bar and he looked at me like I was crazy and went on to tell me how much he just “loved, loved, loved” Annuals and why they were so great. For the rest of the night he and many of my other friends witnessed to me and tried to convert me into a fan because apparently if you don’t like Annuals, you’re going to musical hell where Rebecca Black reins supreme.

In any case, none of them convinced me and since then I’ve tried to find a song I at least kind of like, but I just can’t. My ears do not like them and here is why: there is no real melody just a lot of yelling, loud guitars and drums.

That being said, are they talented? Yes. Do they know how to put on a show? Yes, very much so. Did they pack the house? Yes. Do I understand their appeal? Yes. So there it is, I can 100% endorse the fact that they did a great job at Kings, tickling the fancy of all their fans and never made a mistake that I could tell.

So IN CONCLUSION, anyone who went to Kings Saturday night had no excuse to not have a freakin’ awesome time. Every band rocked it out with their respective fans loving it. It was definitely one of my favorite shows of June and flawlessly executed by all groups involved.

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Concert Review

Matt & Kim Perform at Cat’s Cradle, Bring Most Annoying Fans Ever.

I never expected to start a concert review with a Ghandi quote, but alas–  “I like your Christ, I do not like your Christians.” When I heard that Matt & Kim were coming to Cat’s Cradle several months ago, I was stoked. Though I was less than impressed by their most recent release of Sidewalks, who wouldn’t want to hear “Daylight” performed live? Better yet, The Hood Internet were opening. I spent far too many high school nights (and if I’m honest, college nights too) driving around blasting mashups like “Billie ‘Wildcat’ Jean” and “In The Air Ce Soir” to miss a live show by the two men behind it! I snatched a ticket to the concert like the greedy mofo I am and suggested the infamous DJ Shorty Shorts and another friend join me.

Before I begin being really dramatic (as usual), I should clarify that we were truly excited to go. We planned our evening around the concert, driving to Chapel Hill early to make time for sushi and a personal favorite past time, jay-walking. We got to the venue several minutes before the show started with our grooves on…

The Hood Internet had a strong open, and their stage presence was enormous. They spun great tunes and had a flawless performance, though I did feel alienated by the second half of their set. They mashed up indie hits like The XX, Bibio, and of course Matt & Kim, but apparently, I’m not hip enough to get their pop culture references anymore. I’m pretty sure I heard some Justin Bieber mixed in near the end, and the worst thing was that the samples I felt most alienated by absolutely fueled the crowd of middle schoolers around me. They loved that stuff! Radiohead’s “Reckoner,” though, and they turned their head sideways in confusion. I should mention that I did hear a beautifully off-key, oddly syncopated, whiny rendition of “Creep” by the group of high schoolers to my left, though. All 40 of them. Come on, kids. Come on. You don’t live in High School Musical. We’re not all in this together… in fact, I’d like you to shut up and leave the singing to the professionals.

The Hood Internet packed up their things after about forty-five minutes of adrenaline-filled dancing and… for some odd reason, the house lights weren’t turned back up. I don’t think most of the crowd realized that The Hood Internet was finished, because they kept dancing to the remixes being played over the speakers. What was already a tight, tight crowd only condensed because surprise! Nobody was old enough to drink so nobody moved to the bar, nobody budged, people kept dancing to set-change music, and the late-comers showed up and pushed in on the crowd.

Amidst the chaos and confusion, it’s time for your introduction to big-head kid. By the time Matt & Kim came to the stage, my view was as follows, thanks to big-head kid:

I don’t even know how big his actual head was, but his hair was HUGE and he spread his arms as though he were trying to scare a bear off in the woods by becoming the largest person possible. I tried to take pictures during the show, but every single picture had big-head kid as the focal point. I don’t know how, but he managed to be everywhere I moved without fail.

Matt & Kim were fun and kind of bad ass, but in that middle school way. They talked to the audience a lot between songs, but every other word out of their mouth was “fuck.” Who were they trying to impress? I promise that I’m not a prude, but the words flowed out of their mouths so unnaturally that I began to cringe after a while. These are the musicians that the hipstahs are idolizing? I really wanted to like Matt & Kim, and I see why people do; they both have a great chemistry and play off of each other’s personalities on stage, but I couldn’t help but feel like it was all an act. They were desperately feeding off of their audience’s expectations of a bad-ass, and I just wasn’t it. It felt like watching MTV mixed with 21st century Nickelodeon after they killed Double Dare 2000, Rocket Power, and Hey Arnold!, and… that’s just so not cool.

In retrospect, I think we missed the obvious warning signs. The parking lot was filled with SUVs fit for the typical soccer mom. I saw an abandoned balloon floating away into the sky as we approached the venue. Storm clouds were rolling towards us, and as a burst of lightning flashed across the night sky, I saw the dark mark looming overhead. In the venue, I had to wait in a line to sign in to the underage list… and walking in, I was one of the tallest people there. This concert won the award for most awkward of 2011, and we’re only in June. I don’t see what could trump it. It beat the seizure at Baths’ concert in Durham amidst Will Wisenfeld’s freezing Macbook Pro. It slaughtered Diamond Rings’ Napoleon Dynamite dance moves and Superchunk bashing. The Matt & Kim show was a circus filled with kids. The audience was rude, they shoved people around, and ultimately, I left about 20 minutes early. I’ve never done that at a show before. I couldn’t do stay. I was suffocating. I had a crappy view, the kids in front of me began making out loudly, and the guy behind me yelled “I LOST MY VIRGINITY TO THIS SONG” as “Daylight” was playing (sad times, man… sad times). It was just not my cup of tea.

I really like Sidewalks and Grand, and I wanted to like Matt & Kim in concert… but the fans completely ruined it for me. I’ve never been to such an obnoxious show, and I doubt I’ll subject myself to one ever again.

 

 

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Concert Review

Bela Fleck and the Original Flecktones Play Sold Out Show

With an expansive lawn, selling out the North Carolina Museum of Art (NCMA) proves to be quite difficult. However, the first show of the summer season on June 4, did just this.  Bela Fleck and the Flecktones attracted such a varied audience that every inch of the lawn was taken – whether it be by hip young professionals eating olives, cheese, and wine or older couples eating a hot box of Bojangle’s fried chicken.

 

The show started around 8:15PM, the perfect time to sit back and enjoy the 90-something day finally cooling off.  They played  newer music off their most recent album, Rocket Science.  And not to go with the intentional pun, but deciding whether to buy that album isn’t rocket science.

 

 

 

This show is different than many in the past few years, as Howard Levy joined the band yet again. Levy, an amazing harmonica player, seems to tie the whole group together. Percussionist Futureman is about as interesting as a percussionist can get. He plays a hand-made drumitar, and has many other unique inventions based in scientific principles and pure awesomeness. If you’reever wondering which one is Futureman, just look for the pirate. Futureman’s brother plays bass in the Flecktones and hot damn! is he good. I don’t usually like bass solos, but Victor Lemonte Wooten definitely had my attention.  Of course, I hardly even need to speak of Bela Fleck’s virtuosity at the banjo.  Futureman made the joke that Fleck is proof that banjo jokes aren’t true. Casey Driessen, violinist of The Sparrow Quartet joined in for more of the bluegrass/folk numbers.

 

 

The concert went on until about 10PM, the lightning bugs and ambient lighting of the grounds of NCMA provided a perfect setting for the soft strumming and beats of Bela Fleck and the Flecktones. If you missed out on this show–do not fret– they will be coming back to North Carolina in August! Associate acts Ben Sollee and Abigail Washburn frequent this area, so be on a look out for them as well.

If you need your weekly Bela Fleck dose, you can always tune in to Americana Blues and Company Saturday mornings from 10-12, as we are known to play an occasional Bela Fleck number.

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Concert Review

Lost in the Trees, Lost in the Music

Friday, May 13th the crowd at Cat’s Cradle was anything but unlucky. The set was extended, putting in a second opener to Lost in the Trees. Due to the growling in my tummy I missed the first opener, The Towers. Instead, I ran over to Carrburrito for a bangin’ fish taco (and not the Urban Dictionary definition, so please don’t go there!) . Mmmmm. Oh, right, the show.

Upon my return, completely stuffed, the second opening band, The Toddlers, came on. This unsigned Chapel Hill band played loud rock music that was carried by the lead singer’s deep voice. I couldn’t quite put my finger on the depth of his voice; somewhere in-between Matt Berninger, of the National and Charlotte-based artist Benji Hughes.

By the time The Toddlers were halfway through their set, Cat’s Cradle was packed. Questions of “is this Lost in the Trees?,” were being answered with shouts and whispers from “This is the second band… I don’t think so” and “How could you think that?”, to “Hell yeah!”. Needless to say, there were some very new fans in the audience, and they were about to be blown away.

After two 45-minute opening sets, the long awaited Lost in the Trees made it to the stage. Ari Picker floated across the stage as he plucked at his guitar, while Emma Nadeu did her usual amazing thing playing about eleventy-billion instruments. Having seen Lost in the Trees about 5 times now, I can say that this show had a different feeling than others. It was more focused and less ethereal. The back-up instrumentals became harder, while Ari himself became more billowy. It was a difficult scenario to describe, but I have a feeling that their new record will have many of these elements. They played a few songs that will be on that new record; they display the same musical genius as in the other albums but the energy seems stronger. They played some Lost in the Trees staples like “Song for the Painter” and “Walk Around the Lake”, to which everyone sung along, even the people who in the beginning weren’t sure if they were The Toddlers.

Lost in the Trees is up to great things, and always worth seeing!

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Concert Review

Yelle brings French charm to the Cradle

French trio Yelle visited Carrboro’s Cat’s Cradle on Tuesday, April 26. Unfortunately, I missed the synth-pop goodness of Brooklyn-via-Milwaukee duo (and brothers) French Horn Rebellion, making it into the Cradle just in time for the beginning of Yelle’s set.

Playing for just over an hour, the group put on what can aptly be described as a non-stop, sweaty, ecstatic dance party. Singer Yelle fronted the group with charisma and charm that reminded me a lot of Robyn (not to mention the musical similarities between the two), winning the crowd over from the get-go with her friendly personality, mile-wide smile, and playful dance moves. Drummer GrandMarnier and keyboard player Tepr backed her with the buoyant electro-pop sounds found on the group’s two records, Pop Up and the recently released Safari Disco Club. The crowd seemed to reflect that energy right back at the stage. Every body in the Cradle was moving and sweating. Hands were raised throughout the entire show and glowsticks flew back and forth across the room.

While I’m not very familiar with the group’s song titles, I did recognize “Ce Jeu” early in the set, and the group played most, if not all, of Safari Disco Club. They brought along a simple, but effective, light show that reflected the rich colors found in the music. It was the most fun I’ve had at a show in a good while and helped serve to cure up some blues after a rough week. If you ever get the chance to see Yelle, don’t think; just go, dance, and have a great time.

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Concert Review

Peter Bjorn and John Rock Cat’s Cradle

Do you have a band that somehow changed your perception of music? I remember falling off the face of popular music in middle school after discovering last.fm. I don’t really know how things happened, but I got sucked into the vortex of independent music more quickly than I would have thought possible. I’m not proud of some of my origins- I started with Oasis, moved to Muse, swung to Paolo Nutini… I made a quick pass by Mika (yeah, I was that guy).  From there, things started to get really good, though.

Peter Bjorn and John were probably the first ‘this is really good!’ band that I ever listened to. “Young Folks” is enough to get anybody off their ass and into a sunshine mood. The album Writer’s Block was a significant brick in my musical foundation, and one that I am certainly proud of. On Friday of last week, I had the opportunity to see them live at Cat’s Cradle. I of course jumped on the chance!

Bachelorette opened for them, and I was sorely disappointed with her performance. She seemed like a delightful woman, and she was of course gorgeous like all Swedish women, but the performance went awry when she encountered technical issues. She was mixing from two Macbooks and experienced software problems at least four times in her short set. These always occurred mid-song, and she would just giggle and start over. Each time, I was pulled out of the beautiful layers she was setting into motion and forced to start over with her. I have explored her LPs more after seeing the show to see what her studio sound is, and I can only conclude that she was just having a bad night. Her pleasant air and eventually beautiful performance doesn’t erase the painful awkwardness that comes with seeing a musician fail on stage over and over and over again. Elaborate visuals were projected behind her that moved in synchronization with the music, but I couldn’t help but wonder why so much time was spent on arranging those when the sound itself wasn’t even correct…

Peter Bjorn and John absolutely shined. Somehow, my friend and I managed to find standing space at the front center of the stage. It was the most perfect spot that could be imagined. Peter, the lead vocalist, was one of the most energetic musicians that I have ever seen perform. He would constantly lean over us and rip on his guitar. His dance moves were beyond epic. The band members were extremely personal with the crowd, calling one fortunate soul on stage in the middle of the concert to receive a pat on the back from Peter. Peter grabbed a microphone half way through the show and jumped into the crowd. Yes, I did grab his back. I haven’t washed my hand since!

Peter Bjorn and John played two encores. On the first, the drummer (John) returned to the stage with a banana. He attempted to capture the sounds of him chewing it as he subtly mocked the organic smuggery that sometimes exists in Carrboro. The band played reworked songs from “Living Things,” explaining that they had to improvise as their synthesizers were too heavy to fly to America. The result was chilling and wonderful! In their second encore, the band played some old favorites like “Amsterdam” and a rousing rendition of “Young Folks” commenced by Peter on the harmonica. He moved to stage-right and again dove into the crowd. I didn’t see a single person not shaking their hips in the way that only good rock can make an entire audience do. The show was wonderful.

The band stayed after their performance to sign merchandise. I purchased a remix of the Writer’s Block album featuring such awesome tunes as “Sitar Folks” and a Girl Talk remix of “Let’s Call It Off.” Of course I got my vinyl sleeve signed by the band. The night was incredible and ended a wonderful week at Cat’s Cradle that was kicked into motion by Yelle Tuesday night. Concerts like this one remind me that music is my raison d’être. Keep your ears perked for an upcoming interview with Peter Bjorn and John on WKNC!

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Concert Review

The Mountain Goats come home

On April 8, the Cat’s Cradle was bursting with excitement as two local legends came home to play together in one epic evening.  That night the lucky few who managed to get their hands on a ticket (the show sold out weeks in advance) got the opportunity to see the North Carolina-grown bands: Megafaun and The Mountain Goats. I arrived a bit late, just in time to see Megafaun play their last two songs. Even though those two songs were fantastic, I was disappointed to have missed the majority of their set, but I arrived just in time to see what I came for: John Darnielle and The Mountain Goats.

I doubt that even some of the most devoted Mountain Goats fans present could have anticipated just how fantastic of a show it was going to be. There were literally too many great moments to list, but I’ll do my best to outline the highlights.  The show consisted of a healthy mix of tracks off of the new album and old classics. Before playing ‘Birth of Serpents,’ John told a short story regarding the origin of the song. He talked about a time where he recently went to Portland and tried to reconnect with an old friend, only to find that his friend had been run over by a car and died the previous year. The audience fell to a hush and listened with an impenetrable attentiveness as the stage erupted in a cavalcade of emotion and sound.

As with most Mountain Goats shows, there was a segment in the middle where the band left the stage and John did a solo set.  The set began with someone in the audience shouting, “play My Favorite Things,” to which John shrugged, said ok, and launched into a funny unreleased track about Coltrane.  The show carried on with songs about vampires, women with mystical powers, and crystal meth.

For the last song of their set, The Mountain Goats asked Megafaun to join them on stage.  Both bands, accompanied by just about the entire audience, performed ‘This Year,’ and it seemed as if the entire Cat’s Cradle was pulsing to the beat of the song.  The band then returned for a four song encore, which included the fan favorite ‘No Children’ and ended with the entire crowd chanting “Hail Satan!” as they closed with ‘The Best Ever Death Metal Band in Denton.’

But that wasn’t all.  The band then returned to the stage for a second encore and played “California Song,” during which John left the stage for the night giving the other members of the band a chance to flex their skills. The show made for a truly magical night and is a memory that will surely be cherished by each and every fan that had the opportunity to make it that evening.

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Concert Review

Dr. Dog at the Cradle

 

The Philadelphia-based psychedelic, indie rock group Dr. Dog performed a stellar show Saturday, April 9, 2011 at the Cat’s Cradle. They performed a most appropriate set of songs exploring their three latest albums: We All Belong, Fate, and Shame, Shame.  The crowd was primed with the lovely set from the North Carolina group Floating Action.  They set the stage to what ended up being the best Dr. Dog show I have seen; being that it was the fourth time I have seen the incredible band. To highlight: the band entered the stage right…the crowd went wild…instruments were plugged in… sounds exploded out of those amplifiers and my mind, as well as the several hundred minds around me were filled with the sounds of AWESOME!  Toby, the bass player, said that the Cat’s Cradle is a special venue because it was one of the first venues the band had played at outside of Philadelphia, PA.

[in terminator voice], “They’ll be back!”

If you are unfamiliar with this band, some would say they sound like a modern Beatles, but I would argue they have an extremely unique sound especially on there first and second albums, Toothbrush: an introduction to Dr. Dog and Easy Beat. Easy Beat is my personal favorite album, but these guys have the Midas touch, and it is exhibited in all their art.

“Be careful of the judge inside| His gavel and his stand collide. |But he’s only guilty of what’s wrong. “  -an excerpt from Easy Beat

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Concert Review

Papercuts Float Through Raleigh

This past Thursday served as the end of March (and, hopefully, the cold). It also served as the second show WKNC has presented at the still-pretty-newly-reopened Kings in downtown Raleigh (the first being this year’s Double Barrel Benefit).

UK-via-Italy act Banjo or Freakout opened the show with a set of airy songs not too far removed in style from Papercuts. Backed by a drummer and bassist/guitarist, main man Alessio Natalizia worked his way through a set of songs culled largely from his recently released, self-titled full-length debut. The first half of the set saw the trio playing songs full of interesting arrangements, with Natalizia’s echo-laden, airy vocals up front. Unfortunately, the remainder of the set saw the band work their way through a handful of interchangeable standard-indie-rock songs that lacked the charm of the first half. That said, it’ll be interesting to see where Natalizia takes Banjo or Freakout’s sound.

Jason Quever, the main force behind Papercuts, brought along a full band to flesh out his dreamy songs, reminiscent of a male-fronted Beach House meets The Clientele. Touring behind the release of new album Fading Brigade, one of the best releases of 2011 so far, Quever and his band brought the songs to life with the sort of laid-back energy found on the recordings. The small, but appreciative, crowd swayed along to the effortless grooves of songs like “Do What You Will” and “Chills,” cheering the band back out for a brief, but well-received, encore.

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Concert Review

Thursday is the New Friday – Future Islands Night 1

“Thursday is the new Friday,” proclaimed front man Sam Herring as he watched the sea of hands surge upward. The first night of Future Islands’ Raleigh performances had begun. The hype was building earlier as the shirtless front man and drummer of Ed Schrader’s Music Beat screamed into the microphone as he rapped his drum. A ghoulish low angle light illuminated his body, yet the tactic seemed appropriate and fitting. Islands’ entrance was quick, but their deliverance was timely.

Dressed in more formal attire (which Herring seemed to slowly rid himself of as the night progressed), they delivered crowd favorites like  “Tin Man” and “Long Flight” which were played back to back. Both tracks are off of Future Islands’ sophomore release “In Evening Air.” The Baltimore band also showcased some new tracks which I suspect are part of a rapidly approaching album release.  Herring’s usual stage facial expressions seemed surprising less theatrical Thursday night. I did, however, have a sneaking suspicion that the band was holding back for their second night. Fellow WKNC DJ The Mensch commented on the evening’s performance:  “Having never heard Future Islands in concert I wasn’t entirely sure of what to except.  Through, hearsay I knew they were amazing live from the chitchat around the studio… It’s safe to say that this was one of the best, if not the best concert I have ever seen in the Triangle.”