For those who pride themselves on being familiar with local indie music within the Triangle, it would be a cardinal sin to overlook The Love Language’s rise within our tight knit music community in recent months. Indy Week gave the Raleigh band a nice cover photo and article last week, which chronicled the almost Cinderella story of Stu McLamb’s personal setbacks with the broken band this past December and his ability to bounce back to release Libraries on Merge Records, Love Language’s second album. Personally, The Love Language’s recent openings for international band Phoenix this June in Raleigh and Charlotte have cemented their growing momentum.
Although I admit that Libraries did not top their self-titled first album, I could not deny the raw energy that was present on stage at Cat’s Cradle Saturday night. The lead singer was composed, on point, and looked sincerely grateful to play the sold out show. He opened the night playing solo in deep spotlight, embodying the loneliness but also the his perseverance through the past few months. As McLamb finished quietly, the rest of the band transitioned perfectly in with “Horophones,” which symbolically represented the new band members’ solidarity. Although the show was aimed at showcasing Libraries, fans were treated with old favorites and special guests such as members from local band Lost in the Trees.
I couldn’t help but notice the various types of people that packed into the spacious Cradle, which signified that McLamb and friends are producing wide appeal. However, the Cradle wasn’t just teeming with life before the headliners walked on stage. Although I made a late appearance that night (due to an unscheduled pit-stop to gather some delicious French fries,) I luckily caught most of The Light Pines’ set. Last time I saw these guys was at the largest Local Beer Local Band night I’ve experienced where they attracted a huge crowd. Thankfully, things haven’t changed much since then. The boys seemed in step with one another producing their familiar haunting melodies. Guitarist Carter Gaj’s riffs were so rewarding that they warranted an impromptu and ecstatic Facebook status update.
Tommyboy was able to fill me in on opening act, Shit Horse, whom I knew relatively nothing about. However, apparently I missed a great deal of antics as the front man was extremely charismatic, soliciting responses now and then from the crowd. On their final number, they brought out a topless girl (both nipples pierced as I’m told) wearing a horse mask. Certainly, it had to have been an unforgettable performance.
