Bruce Springsteen @ East Rutherford 9/30

September 30, 2009

To write about Bruce Springsteen is to write about forty years and hundreds of songs across more than twenty albums. The Boss has sold out the enormous Giants Stadium more than fifty times in just twenty years; in one night at Giants Stadium, Springsteen plays to more fans than most bands play to all year. It’s that massive.

In front of a soldout crowd in chilly East Rutherford, Springsteen arrived on stage at 8:15 and began with “Wrecking Ball”, a brand new song unveiled to commemorate his final shows at Giants Stadium (the building is being replaced with the brand new $1.4B Meadowlands Stadium). “I was raised out of steel here in the swamps of Jersey some misty years ago,” Springsteen sang for a fitting eulogy. “Through the mud and the beer, and the blood and the cheers, I’ve seen champions come and go.”

A string of Nebraska cuts followed, including the non-album take on “Atlantic City”. The crowd-pleasing singalong “Hungry Heart” snuck into the middle of two Working on a Dream songs before the setlist took a sharp turn: Bruce Springsteen and the E Street Band set their sights on 1975′s Born to Run.

“Thunder Road” began with Springsteen on harmonica and exploded into a full Band experience. Powered by saxophonist Clarence Clemons, “Tenth Avenue Freeze-Out” was enormous; rarely seen “Night” sounded great. The anthemic “Backstreets” united the crowd and concluded the first half of Born to Run.

Springsteen and his Band performed a colossal rendition of the album’s title track; “She’s the One” followed and sounded great.  The powerful “Meeting Across the River”, featuring a trumpet solo from Curt Ramm, was played for just the second time this decade before a thunderous performance of “Jungleland” had the audience in a frenzy. Springsteen and the Band took a bow in a moment that found The Boss celebrating not only Born to But also the incredibly important E-Street Band that made the album come together in 1975.

Featuring a singalong with a random child in the audience, “Waiting on a  Sunny Day” had the entire stadium singing, “I’m waitin’, waitin’ on a sunny day, gonna chase the clouds away, waitin’ on a sunny day”.  Two more cuts from The Rising, including the staple title track, and a few from Darkness on the Edge of Town rounded out the end of Springsteen’s set before the E-Street Band started what was technically an encore with “Raise Your Hand”, a ’60s hit written by Steve Cropper, Eddie Floyd, and Alvertis Isbell.

The next few songs were requests, taken by Springsteen in the most diplomatic fashion: fans were encouraged to toss cardboard signs on stage of the songs they wanted to hear. The Boss raced around the crowd collecting signs, some of which were used as stage  decoration (“It’s Boss Time” was placed in front of drummer Max Weinberg). “The E-Street Shuffle” (which, according to The Boss isn’t a dance at all) was the first of the requests. “Growin’ Up” followed; midway through the song Springsteen recounted a recent dream about his sixtieth birthday, which led to an impromptu “Happy Birthday” song from the crowd.

Folk-singer and guitarist Willie Nile joined the Band for the next three songs, including an excellent cover of Stephen C. Foster’s “Hard Times Come Again No More”. “American Land” was a great, and “Dancin’ in the Dark” was the night’s biggest singalong…

…that is until The Boss screamed “Hey Patti, won’t you come out tonight?”, a reference to his wife and E-Street Band member Patti Scialfa who was curiously absent from the performance. The line was also a reference to “Rosalita (Come Out Tonight)”. Clocking in at over seven minutes, the song tells the story about a musician and his love, the titular Rosalita. In New Jersey, there is no bigger Bruce Springsteen song. At Giants Stadium, there was no bigger singalong. The entire crowd couldn’t help but jump and dance to Springsteen’s rapid-fire delivery over the E-Street Band’s bouncy tune.

Anchored by the eight-song Born to Run, Springsteen’s two-hundred minute setlist spanned twenty-nine songs. With hundreds of songs at his disposal, The Boss should be commended on his set selection. The full set:

Bruce Springsteen's setlist, noticably different than what was actually performed.

Bruce Springsteen's setlist, noticably different than what was actually performed.

Wrecking Ball
Seeds
Johnny 99
Atlantic City
Outlaw Pete
Hungry Heart
Working on a Dream
Thunder Road
Tenth Avenue Freeze-Out
Night
Backstreets
Born to Run
She’s the One
Meeting Across the River
Jungleland
Waiting on a Sunny Day
The Promised Land
Into the Fire
Lonesome Day
The Rising
Badlands
No Surrender
Raise Your Hand (Eddie Floyd cover)
The E-Street Shuffle
Growin’ Up
American Land
Dancin’ in the Dark
Hard Times Come Again No More (Stephen C. Foster cover)
Rosalita (Come Out Tonight)

Bruce Springsteen and the E-Street Band were absolutely amazing. To perform for more than three hours is no small feat, but to perform nearly thirty incredible songs during that time is astounding. Springsteen performed into exhaustion, frequently visiting the crowd and even dancing with an older woman who was pulled on stage during “Dancin’ in the Dark”.

It’s hard to imagine a better goodbye to Giants Stadium than a five-night stand from The Boss and his legendary E-Street Band, and the first night of those dates proved to be nothing short of spectacular. Oh, yeah, there were fireworks as well, as if it mattered. Springsteen’s performance was the focus of the evening, and everything else just slipped out of mind, into the swamps of Jersey.

inTuneMusic is very interested in any submissions/corrections from this event including photographs, setlists, and audio/video. Please contact us, you will receive complete credit for any submission.


Sunny Day Real Estate / The Jealous Sound @ NYC 9/27

September 27, 2009

In 1994, the underground music community was fighting for identity. With the long-underground grunge (see: Nirvana, Pearl Jam) exploding into the mainstream, and punk-pop finally receiving MTV coverage (see: The Offspring, Green Day), a precious void was left in the West Coast’s basements and clubs.

Sunny Day Real Estate frontman Jeremy Enigk

Sunny Day Real Estate frontman Jeremy Enigk

Taking cues from the East Coast (see: Rites of Spring, Fugazi), California’s Jawbreaker emerged to play music in a blossoming new style, emo, a decade before mainstream media destroyed and spread ignorance about the term. Rooted in three-chord punk rock, Jawbreaker were near opposites to Seattle’s Sunny Day Real Estate. While maintaining the defining passion of traditional emo, Sunny Day Real Estate was clearly rooted in indie-rock and preferred complex musicianship over brash hardcore-punk styles.

Emo spread through the west and mid-west (see: Jimmy Eat World, Braid), with each new band taking cues from Sunny Day Real Estate along the way. Diary, Sunny Day Real Estate’s fifty-minute debut, was the blueprint to that movement. The band broke up shortly after its release, though, issuing a half-finished self-titled farewell album in 1995. The band reunited to issue a 1998 compilation album, but ended up with a proper full-length (How it Feels to be Something On) and a final farewell, 2000′s The Rising Tide, before disbanding again in 2001.

In early 2009, Sunny Day Real Estate announced plans for a reunion with their founding lineup; the reunited four-piece rolled into New York City’s Terminal 5 on September 30.

Hailing from Los Angeles, the recently reinvigorated The Jealous Sound provided direct and only support for Sunny Day Real Estate. Sticking heavily to 2003′s Kill Them with Kindness, the California emo-indie four piece sounded excellent during their thirty-minute set. Former Knapsack vocalist Blair Shehan sounded great, and the rhythm section (bassist John McGinnis and drummer Adam Wade) was rock solid, providing lead guitarist Pedro Benito a strong foundation for his luscious licks.

Excitement exuded through the crowd, and shortly after 9PM Sunny Day Real Estate began playing “Friday”, the leadoff track from their self-titled effort. Diary received heavy treatment–only “Round”, “The Blankets Were the Stairs”, and “Pheurton Skeurto” were absent–beginning with “Seven” and moving through three additional 1994 cuts.

Sunny Day Real Estate guitarist Dan Hoerner

Sunny Day Real Estate guitarist Dan Hoerner

Unfortunately, Sunny Day Real Estate opted not to play anything from the beautiful The Rising Tide and picked just one song from How it Feels to be Something On. This was hardly surprising, however, as the band was performing with founding member and bassist Nate Mendel for the first time in fifteen years and likely wanted to stick to their original material. The lone pick from How it Feels to be Something On, “Guitar and Video Games”, drew much applause from an audience likely raised on the song’s subject matter.

Midway through the set frontman Jeremy Enigk announced that the band would play a brand new song, much to the crowd’s excitement. The song, which is still untitled, sounded right at home in the Sunny Day Real Estate catalog. Diary-closer “Sometimes”, featuring an extended introduction with Dan Hoerner’s intricate guitarwork, closed out the band’s set. A few minutes later, the three song encore began with “In Circles”. “Friday” b-side “Spade and Parade” followed before the band finished with a strong performance of “48″. The full set:

Friday
Seven
Shadows
Song About An Angel
Grendel
Guitar And Video Games
Iscarabaid
Theo B
(new song)
47
J’nuh
Sometimes
In Circles
Spade & Parade
48

Sunny Day Real Estate sounded fantastic, with an excellent fifteen-song setlist. If the band’s 1994 debut served as the blueprint to the ’90s emo-indie movement, then the band’s 2009 performance should serve as an instructional how-to for a plethora of bands formed as a result of the ’90s movement. Sunny Day Real Estate performed with passion, with precision, and for ninety minutes. More bands in 2009′s “scene” need to apply these three principles.

Photos credit to Taryn Looney

inTuneMusic is very interested in any submissions/corrections from this event including photographs, setlists, and audio/video. Please contact us, you will receive complete credit for any submission.


Thursday / The Fall of Troy / Young Widows / Moving Mountains @ NYC 9/20

September 20, 2009

Thursday’s fall tour rolled into New York City on a chilly Sunday night in the Lower East Side with support from The Fall of Troy, Young Widows, Moving Mountains, and locals Kiss Kiss. The third date on a tour that extends until the end of October, the performances and setlists are quite similar to the first night of the tour in Philadelphia. This review is a brief supplement to the lengthy and detailed review of the September 18 date, so please read that first before continuing on.

Though Kiss Kiss opened the show, Moving Mountains was the first band I caught. The New York natives sounded excellent, reaching back to their 2007 debut, Pneuma, while also playing a large portion of new songs.

Young Widows began with “Took a Turn” and moved through Old Wounds, tossing in some brand new songs along the way. The band sounded good, receiving a fairly warm response from a crowd most certainly being introduced to the Kentucky trio for the first time.

The Fall of Troy performed well during their thirty minute set which found guitarist and frontman Thomas Erak frantically shredding through most of the band’s discography. Much like in Philadelphia, however, vocals took a backseat to Erak’s blazing guitar abilities.

The New Jersey six-piece took the stage next; on frontman Geoff Rickly’s queue, Thursday exploded with “For the Workforce, Drowning” and rolled through the first three War All the Time tracks. “Division St.” was dedicated to Ben Lazar, an Island Records staff member who pushed Thursday to write that song (and others, including “Signals Over the Air”), after feeling that War All the Time was initially incomplete.

A City by the Light Divided‘s lead-off (“The Other Side of the Crash/Over and Out (of Control)”) followed before a string of Full Collapse cuts found the band digging back to 2001. “The Lower East Side is a vector, a needle that we all must cross,” sang Rickly on “Paris in Flames”, echoing through the Lower East Side’s Bowery Ballroom.

Back-to-back politically charged anthems (“Autobiography of a Nation”, “Friends in the Armed Forces”) sparked Rickly to comment on America’s war (to which a fan responded “which one, we’re in four”, sparking a high-five from Rickly), and indeed America itself. Rickly explained that his love for America stems from Americans fighting for what they believe in, not blindly following every widely-accepted belief, and standing up against what is clearly wrong.

After an excellent performance of Common Existence‘s “Circuits of Fever”, the band finished the first part of their set with “Sugar in the Sacrament”, returning with “Love Has Led Us Astray” to begin their encore. During the band’s final song, “Jet Black New Year”, the crowd erupted and the stage was filled with stage dives and singalongs. The full set:

For the Workforce, Drowning
Between Rupture and Rapture
Division St.
The Other Side Of The Crash/Over and Out (of Control)
Paris in Flames
Understanding in a Car Crash
Autobiography of a Nation
Friends in the Armed Forces
Beyond the Visible Spectrum
Signals Over the Air
Circuits of Fever
Sugar in the Sacrament
Love Had Let Us Astray
Jet Black New Year

Bowery Ballroom fit the tour nicely, allowing an intimate performance with a strong house sound. In comparison to the band’s date just two days prior at First Unitarian Church in Philadelphia, the Bowery Ballroom sounded much better and allowed for more room and a less packed crowd. Thursday sounded great during their hour-long performance, but unfortunately played the exact same set as two nights before. The band returns to Bowery Ballroom on October 25 to perform Full Collapse.

inTuneMusic is very interested in any submissions/corrections from this event including photographs, setlists, and audio/video. Please contact us, you will receive complete credit for any submission.


Thursday / The Fall of Troy / Young Widows / Moving Mountains @ Philadelphia 9/18

September 18, 2009

Professionally run, yet independently operated, R5 Productions books hundreds of underground shows per year, most occuring at Philadelphia’s First Unitarian Church. Affectionately known as one of the premier DIY venues in the tri-state area, in winter months the venue is ridiculously hot; all other times of the year, it borders on unbearable. On a September night that packed about four hundred kids into the church basement, the venue was most certainly the latter.

Purchase, New York’s Moving Mountains opened the show with their remarkable blend of post-rock and post-hardcore, drawing up equal comparisons to the atmospheric guitars of Explosions in the Sky and the brute force of Thrice. Frontman Gregory Dunn shares vocal and guitar duties with Frank Graniero while bassist Mitchell Lee and drummer Nicholas Pizzolato round out the band’s rhythm section. The band played a varied setlist, evenly combining songs from their 2007 debut Pneuma with new cuts, such as Foreword EP material. “Cover the Roots, Lower the Stems” received the warmest response, but indeed the band’s entire set sounded great.

Young Widows played next, opening with Nick Thieneman’s bass rumblings of  “Took a Turn”. Formed in the ashes of mathcore outfit Breather Resister, the Kentucky trio seemed groggy and appeared to simply go through the motions for the duration of their set. That’s not to say they aren’t talented, however; guitarist and lead vocalist Evan Patterson just seemed out of it. Drummer Geoff Paton was a machine, though, pounding away through the band’s blend of post-hardcore. The band stuck heavily to their Temporary Residence Limited debut, 2008′s Old Wounds; for “The Guitar”, Patterson looped a riff to add layers to an otherwise simple song. The full set:

Young Widows setlist

Young Widows's setlist

Took a Turn
Old Skin
Gang of 3 (Future Heart)
The Heat is Here
The Guitar
Lucky and Hardheaded
Young River
Uptight
Swamped and Agitated

Seattle’s The Fall of Troy took the stage next. While certainly enjoyable, the set was little more than a chance for Thomas Erak to shred his guitar for forty minutes. Beginning with “Spartacus” and continuing through a very well-selected setlist, the rhythm section of drummer Andrew Forsman and bassist Frank Ene provided Erak–who played well despite being sick with the flu–a nonstop chance to showcase his incredible guitar abilities.

Vocals took a backseat to Erak’s guitar, letting the crowd sing along for many of the songs while he blasted through riff after face-melting riff. Guitar Hero‘s “F.C.P.R.E.M.I.X.” drew the biggest response, but fan favorites like “Rockstar Nailbomb!” and “I Just Got This Symphony Goin’” also had the crowd singing along. A large portion of the crowd was clearly in attendance for The Fall of Troy; after the epic closer, “What Sound Does a Mastodon Make?”, from their self-titled 2003 debut, the crowd emptied out significantly. The full set, shortened due to Erak’s flu:

Spartacus
Rockstar Nailbomb!
Mouths like Sidewinder Missiles
F.C.P.R.E.M.I.X.
I Just Got This Symphony Goin’
What Sound Does a Mastodon Make?

On another tour, both direct-support The Fall of Troy and openers Moving Mountains might have outperformed the headlining act.

On a tour with Thursday, however, it just wasn’t possible.

The New Brunswick natives walked on stage, jolting the crowd forward as frontman Geoff Rickly raised his arm to begin “For the Workforce, Drowning”. With the pummeling guitars of Steve Pedulla and Tom Keeley, the song packed the crowd up against the stage, crushing anyone who wasn’t anticipating the surge. Soaked with sweat just moments into the set, Rickly fell all over the stage and indeed the crowd for the entire song.

“Between Rupture and Rapture” followed, and Rickly announced “we’re going to do things in order”, a hint that “Division St.” would be next. The 1-2-3 punch of War All the Time songs was excellent, and things hardly slowed down when the keyboardist Andrew Everding’s eerie piano helped shift gears to A City By the Light Divided‘s “The Other Side Of The Crash/Over and Out (of Control)”, a companion piece to the band’s most well-known single (“Understanding in a Car Crash”). Full Collapse‘s often-absent “Paris in Flames” was the first surprise of the evening; the song was followed by a deafening performance of the aforementioned single.

No longer used as an opening or closing track, “Autobiography of a Nation” (the third and final song from the band’s 2001 Victory Records debut) found a new home midway through the set. Following a light intro into an enormous climax, the band erupted with Rickly and indeed the entire church basement screaming the song’s first line: “Write these words back down!” Though unaware at the time, the song marked the set”s midpoint. A quick glance to crowd revealed an exhausted look on everyone’s faces. It was hot.

“Friends in the Armed Forces”–The Quicksand-inspired punk rock damnation of America’s unjust wars in the Middle East–was excellent; Thursday followed it with another Common Existence cut, “Beyond the Visible Spectrum”, a song about the passing of Rickly’s grandmother. “Signals Over the Air” was excellent, transformed from a solid studio cut into an amazing live track.

Anchored by the excellent rhythmic storms of bassist Tim Payne and drummer Tucker Rule over Everding’s keys, “Circuits of Fever” was a powerful and unique addition to Thursday’s setlist. Far removed from the band’s hardcore influences, the song’s atmospheric qualities were a welcomed change of pace in a night that had yet to let up. Though it was impossible to cool down with humidity approaching 100%, the song provided the crowd a chance to breathe.

The lyrically brilliant and Christianity-questioning  “Sugar in the Sacrament” closed the set, with the song’s final moments finding Rickly lunging into the crowd. The piercing cry of “this is all we’ve ever known of God, fight with me, let me touch you now” was particularly relevant in the First Unitarian Church basement. Spiking the microphone, Rickly stumbled away, following his bandmates backstage.

A two song encore began with fan-favorite “Jet Black New Year”. Not just fatigued but visibly exhausted, the band still put on a colossal performance of the the Five Stories Falling EP cut. “Love Has Led Us Astray” finished the evening. The full set:

Thursday's setlist, courtsey of Joanna Drzaszcz

Thursday's setlist, courtsey of Joanna Drzaszcz

For the Workforce, Drowning
Between Rupture and Rapture
Division St.
The Other Side Of The Crash/Over and Out (of Control)
Paris in Flames
Understanding in a Car Crash
Autobiography of a Nation
Friends in the Armed Forces
Beyond the Visible Spectrum
Signals Over the Air
Circuits of Fever
Sugar in the Sacrament
Jet Black New Year
Love Had Let Us Astray

Thursday performed extremely well, and it is evident how much Rule’s drumming has improved over the last few years. Rickly is a decidedly better vocalist, as well, no longer stumbling through some of the more difficult notes. The band’s fourteen song setlist, though, is a point of contention.

With five full-length albums (and a long list of non-album tracks), playing just fourteen songs live is a bit disappointing. The band’s song selection, while strong, is also lacking variety: half of the setlist has remained unchanged for half of a decade. It is understandable to including staples such as “Understanding in a Car Crash” and “Jet Black New Year” at every show, but with such a strong collection of songs it would be nice to see the band shake things up from time to time.

The band also leans heavily on their oldest material, with just six songs from their latest two albums. It’s nice to see a band sticking to their roots and not abandoning their past, but including slightly more newer material would please long-time Thursday fans who have seen the band play the same songs night in and night out year after year. Arguably Common Existence‘s best song–and perhaps Thursday’s best song in five years– “You Were the Cancer”, was noticeably absent.

To be considered one of the decades top live acts is no small feat, and a great live performance depends heavily on both strong studio material to draw from and a passionate performance. The New Jersey six-piece succeeds on both accounts, and their live show is almost unparalleled.

Thursday continues this tour into the end of October, including two very special dates. At the band’s October 10 show in Los Angeles, Thursday will perform War All the Time from start to finish. On the tour’s final night, October 25, Thursday will perform Full Collapse from start to finish in New York City. If the band reaches comes through your area, do not miss the opportunity to catch one of the generation’s most important underground rock outfits.

inTuneMusic is very interested in any submissions/corrections from this event including photographs, setlists, and audio/video. Please contact us, you will receive complete credit for any submission.


fun. / Miniature Tigers @ NYC 9/17

September 17, 2009

As the Lower East Side abandoned the heat of summer and welcomed the cool city nights of fall, Mercury Lounge welcomed an indie-pop powerhouse tour featuring  fun. and Miniature Tigers, with support from locals New Numbers and DJ F-Word.

Miniature Tigers

Miniature Tigers

Arriving at 10PM, I regrettably missed the first two acts but luckily caught Arizona’s Miniature Tigers. Fronted by the fashionably awkward, yet remarkably talented Charlie Brand, the quartet was solid for nearly an hour. Algernon Quashie complemented Brand’s acoustic guitar with thick leads and keys, while the multi-talented Alex Gerber and Rick Schaier swapped between bass and percussion. The band drew heavily from their debut full-length (released a year ago to the day), Tell It to the Volcano but also threw in some older cuts and a rousing cover of the 1975 smash “Mama Mia”–and with soaring harmonies, comparisons to Abba are not that far off.

Headliners fun. began at 11PM with the enormous opening hook of “Benson Hedges”: “Holy Ghost, when do you come out and play, because if the Lord is going to find me, he’d better start looking today!”

In perfect harmony, the lines set the stage for the band’s stellar eleven-song performance. Featuring an all-star cast including The Format’s Nate Ruess, Anathallo’s Andrew Dost, and Steel Train’s Jack Antonoff, the band’s experience on stage showed; Fun unquestionably proved that their debut, Aim and Ignite, was not studio trickery.

fun.

fun.

“I Wanna be the One” and “All the Pretty Girls” received incredible treatment before Fun shifted gears to Ruess’s previous band The Format with an excellent performance of “Dog Problems”. The lighthearted “Light a Roman Candle with Me” was especially well-done.

Used to being the frontman in Steel Train, Antonoff seemed to be jovially fighting Ruess for attention the entire night. Antonoff and Ruess traded banter about the tour, remarking that they needed to get in shape as they constantly gasped for air; when not in a tour van, the band works out to a cheesy aerobics video. A recurring joke through the night was that the band’s moniker should be  “Fun: Slightly Less Douchey”, in response to their less-than-rockstar like behavior.

The soft, autobiographical “The Gambler” was one of the night’s strongest songs, with Dost providing beautiful piano for Ruess to tell a story over. Another The Format song (“If Work Permits”) preceded the extremely catchy “At Least I’m Not As Sad (As I Used to Be)” before the band left, encoring with a colossal performance of “Take Your Time (Coming Home). The full set:

fun.

fun.

Benson Hedges
I Wanna Be the One
All the Pretty Girls
Dog Problems (The Format cover)
Light a Roman Candle with Me
Walking the Dog
Barlights
The Gambler
If Work Permits (The Format cover)
At Least I’m Not As Sad (As I Used to Be)
Take Your Time (Coming Home)

The eleven-song setlist was amazing, as Fun performed their entire catalog sans “Be Calm” and “Walking the Dog II”. Ruess is an excellent vocalist, and the Fun touring band (which includes three additional members including the extremely talented Maggie Mayln) clicks extremely well with Antonoff and Dost.

Fun is on the road until at least November, with headlining dates leading into a tour with Taking Back Sunday. Don’t miss Fun in 2009, contenders for the year’s best new band.

inTuneMusic is very interested in any submissions/corrections from this event including photographs, setlists, and audio/video. Please contact us, you will receive complete credit for any submission.


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