Bad Religion @ NYC 10/26/2010

October 26, 2010

Celebrating their thirtieth anniversary, Bad Religion scheduled three nights in New York City (with support from The Aggrolites and Off With Their Heads) to tackle material across their entire discography. On the second night, the California punk legends focused on songs released in the 1990s, digging into Against the Grain, Generator, Recipe for Hate, Stranger Than Fiction, The Gray Race, and No Substance. Things began with the 1996 title track, “The Gray Race”, and continued on with two more album leadoffs, “Hear It” (No Substance) and “Modern Man” (Against the Grain). The band tore through a handful of other classics before stopping to acknowledge their recent release of The Dissent of Man and subsequently performing that album’s “The Resist Stance”.

Bad Religion

Bad Religion

It was the band’s older material, though, that drew the biggest response from the motley crowd. Mohawks and mothers, fratboys and fathers — generations of fans sang along to cuts like “Anesthesia”, their only commonality a love for the most prolific punk band in existence. Discontent with resting solely on their past efforts, though, Bad Religion tossed in new songs like “Avalon”, proving that frontman Greg Gaffin is still a potent lyricist. The brand new “Wrong Way Kids”, sewn in between two 1992 cuts, sounded right at home with speedy riffs and unrelenting drums. The slower “Infected” seemed to conclude Bad Religion’s set, but “American Jesus” kicked off the encore as the spacious Irving Plaza floor opened into a gigantic circle of dancing and running. It almost wouldn’t be a Bad Religion show without “Fuck Armageddon…This is Hell”, so the quintet launched in the 1982 track, drawing the biggest applause of the night. “Sorrow” closed out the evening, capping off a fantastic twenty-five song set.

The Gray Race
Hear It
Modern Man
Stranger Than Fiction
Recipe For Hate
Flat Earth Society
The Resist Stance
Man With A Mission
Marked
Struck a Nerve
A Walk
Anesthesia
Avalon
Sowing The Seeds Of Utopia
Turn On The Light
Come Join Us
No Direction
What It Is
Atomic Garden
Wrong Way Kids
Generator
Infected
American Jesus
Fuck Armageddon…This is Hell
Sorrow

It’s obvious that few bands last even one decade, and even fewer acts continue through thirty years. What’s most surprising, and important, about Bad Religion, however, is their consistency. On average, the band has released a full-length effort every two years, each album potent and relevant. Fans argue fiercely over which album is the band’s best work, citing widespread influence and lyrical prowess as supporting facts for their particular favorite; perhaps those arguments are the most telling examples of Bad Religion’s long-lasting excellence.


Muse / Metric @ Newark 10/24/2010

October 24, 2010

Beginning in late 2009, Muse set off on a multi-continent tour in support of their fifth full-length album, The Resistance. With multiple United States legs of the tour, Muse fans in the area likely caught the tour as early as March 2010 in New York City’s Madison Square Garden. For those who missed out the first time — or for those who couldn’t miss another chance to catch the English act — “The Resistance Tour” wrapped back around to the northeast, stopping at Newark, New Jersey’s Prudential Center.

Metric

Metric

Lead by frontwoman Emily Haines, Metric opened the evening with b-side “Black Sheep”, most well-known from the 2010 summer comedy, Scott Pilgrim vs. the World. The Canadian quartet stuck primarily to their 2009 full-length, Fantasies, but they also dipped into their their first release with “Dead Disco” — the 2003 cut clearly pleasing longtime fans who arrived early at 7:30 to catch the band. Strong performances of Metric’s four latest latest singles wrapped up the thirty minute set.

Black Sheep
Satellite Mind
Dead Disco
Gimme Sympathy
Sick Muse
Gold Guns Girls
Help I’m Alive

Muse

Muse

Muse‘s set began with images of men walking up the stairs of three enormous, shrouded towers. As the curtains fell, the towers revealed the English trio’s core members, each performing atop the massive pillars. The Resistance opener “Uprising” went first, the entire arena roaring with energy. The excellent Black Holes and Revelations contributed “Map of the Problematique”, and the band even dug back into 2001 with “New Born”. The giant towers lowered and vanished into the floor for “Supermassive Black Hole”, which was cleverly augmented with snow effects on the stage’s enormous video screens.

Many of Muse’s songs were supplemented with pieces of other songs. Absolution‘s “Hysteria”, for example, contained pieces of “The Star Spangled Banner” and AC/DC’s “Back in Black”; “Time is Running Out” featured “House of the Rising Sun” and Audioslave’s “Cochise”. Interestingly, though, “United States of Eurasia” was missing the reworking of Frederic Chopin’s “Nocturne In E-Flat Major, Op.9 No.2″.

Muse

Muse

Following a cover of “Feeling Good” (released on Origin of Symmetry), drummer Dominic Howard unleashed a fantastic drum solo with blistering basslines from Christopher Wolstenholme supporting the performance. Musically, Muse could not have sounded tighter in the 20,000-person arena, but it was the additional visual treats, such as choreographed lasers, that really highlights Muse’s dedication to putting on a memorable show.

“Plugin Baby” — the third and final song from the band’s 2001 full-length — concluded Muse’s set with enormous, eyeball-themed balloons falling into the standing-area crowd. After a five-minute break, though, Muse returned to perform “Exogenesis: Symphony, Part 1: Overture”. “Stockholm Syndrome” and “Knights of Cydonia” finished the evening, the latter also featuring a segment of Ennio Morricone’s “Man with a Harmonica” (most well-known from Sergio Leone’s epic Once Upon A Time In The West).

Uprising
Map of the Problematique
New Born
Supermassive Black Hole
Resistance
Interlude
Hysteria
Nishe
Citizen Erased
United States Of Eurasia
Feeling Good (Anthony Newley and Leslie Bricusse cover)
Helsinki Jam
Undisclosed Desires
Time Is Running Out
Starlight
Plug In Baby
Exogenesis: Symphony, Part 1: Overture
Stockholm Syndrome
Knights of Cydonia

Muse

Muse

Paired with Prudential Center’s fantastic production, Muse’s rock-solid performance and bonus visual spectacles created a truly magnificent evening. Matthew Bellamy’s vocals were spot on for the entire hour-and-a-half performance, highlighting his impressive range and control; indeed, Muse is a band focused on precise execution of their finely-crafted songs.


Bayside / Title Fight / Balance and Composure @ NYC 10/21/2010

October 21, 2010

The “Out with the In Crowd” tour didn’t kick off in New York City, but one of its first stops hit CMJ Music Marathon at the 700-person Highline Ballroom in Manhattan. Featuring rotating co-headlining slots between Senses Fail and Bayside with support from Pennsylvania natives Title Fight and Balance and Composure, the lineup is one of the fall’s finest punk-based tours.

Balance and Composure

Balance and Composure

Balance and Composure played first, in front of a fairly small crowd. The band stuck to material from their latest split with Tigers Jaw and their most recent EP, Only Boundaries, tossing in a brand new song (“Separation”) in the process. The five-piece, featuring lead vocals from guitarists Jon Simmons and Andrew Slaymaker, executed well during their six-song setlist. Undoubtedly paying tribute to pioneers like Mineral and recent acts such as Brand New, the band stands on their own, as well: Balance and Composure deliver their songs with refreshing integrity and urgency.

Burden
Kaleidoscope
I Can’t Do This Alone
Separation
Twenty Four
Show Your Face

Title Fight

Title Fight

Title Fight opened with The Last Thing You Forget‘s “Introvert” and ripped through a very brief ten-song setlist that lasted just under thirty minutes.  Vocalist Ned Russin struggled through most of the set, but thankfully guitarist Jamie Rhoden provided vocals to many of the band’s closing songs including the brand new “Dream Catcher” and 2009 favorites “Loud and Clear” and “Symmetry”. “Goldwaite”, from the band’s 2007 split with The Erection Kids, made a surprise appearance much to the delight of some passionate Title Fight fans sprinkled throughout the room. The quartet performed with remarkable energy and passion, and, with tighter vocals, could be one of the better live punk acts in the genre.

Introvert
Youreyeah
Memorial Field
Western Haikus
Goldwaite
Evander
No One Stays at the Top Forever
Dream Catcher
Loud and Clear
Symmetry

Bayside

Bayside

Walking out to the famous Rocky-series pump-up music (Bill Conti’s “Gonna Fly Now”) blaring through the venue’s PA, Bayside set the tone of their set immediately with The Walking Wounded‘s title track. Two more cuts from their 2007 effort followed (“Duality” and “They’re Not Horses, They’re Unicorns”) before the band made good on their pre-tour promise to include some lesser-played old songs in the setlist. “Alcohol and Alter Boys” thrilled long-time Bayside fans, who appropriately responded with crowd-dismantling dancing. Sirens and Condolences also contributed the rarely seen “Just Enough to Love You”, and Bayside even tossed in a song from the criminally underperformed Shudder, “I Think I’ll Be Ok”.

Bayside

Bayside

Of course, staples such as  “Tortures of the Damned” and “Montauk” remained in the set and were played with the kind of precision only attainable from hundreds of shows of practice. The brand new “Already Gone” made its New York debut to a surprisingly warm response, despite the song being released just days earlier exclusively through iTunes. “Half a Life” was a welcomed surprise to the hour-long setlist, but the night’s biggest shock came in the form of a Weezer cover: “My Name is Jonas”. Frontman Anthony Raneri’s unique voice gave the fifteen-year old song a new spin and allowed Bayside to capture the song as their own. As expected, “Devotion and Desire” wrapped up the fifteen song setlist with the biggest pit of the evening.

The Walking Wounded
Duality
They’re Not Horses, They’re Unicorns
Alcohol and Alter Boys
Already Gone
Tortures of the Damned
Just Enough to Love You
I Think I’ll Be Okay
Half a Life
Landing Feet First
(POP)ular Science
Montauk
Blame It On Bad Luck
My Name is Jonas (Weezer cover)
Devotion and Desire

Bayside

Bayside

With just an hour to mix up four albums of material, Bayside did a commendable job of straying from their previously stale setlists. Though Shudder has still yet to see proper live treatment, the Queens quartet picked solid lesser-played tracks from The Walking Wounded (“(POP)ular Science”) and their self-titled release (“Half a Life”) to keep things fresh. By now, Bayside’s live performance is fairly established as being one of genre’s strongest; it’s nice to see that attitude applied to a different set of songs. Few bands offer Raneri’s passion or guitarist Jack O’Shea’s technical prowess, so seeing it all come to life in a live environment is even more exciting.

All photos by the excellent arielebeau.


Kevin Devine / Miniature Tigers / River City Extension / Death on Two Wheels @ NYC 10/19/2010

October 19, 2010

Leading a monster CMJ Music Marathon lineup that included Miniature Tigers, River City Extension, Death on Two Wheels, and Oh Land, Kevin Devine and the Goddamned Band tackled their hometown at Brooklyn’s Music Hall of Williamsburg on a cool October evening in New York City.

Death on Two Wheels

Death on Two Wheels

Unfortunately arriving late and missing Oh Land, the first band I caught was five-piece Death on Two Wheels. The Georgia natives played a brief set of ’70s-styled rock and roll, featuring two rowdy guitars and complementing keyboards. In addition to some newer songs, the quintet played cuts from their eleven-track debut, Separation Of Church & Fate. Genuinely enjoying their time on stage, the energy trickled down to the crowd and warmed the room for a great evening of music.

River City Extension

River City Extension

The eight-piece River City Extension began at 9PM, playing thirty minutes of peculiar indie/punk/folk/rock filled with cello, banjo, horns, and various nontraditional percussion. Most of the cuts came from the band’s latest full-length, The Unmistakable Man, and were brought to life with an energy only hinted at on the studio recordings. “Something Salty, Something Sweet”, for example, is excellent on tape, but the song really begs for a live experience and singalong. Similarly, songs like “Mexico” and “Adrianne” simply explode on stage.

River City Extension

River City Extension

With handclaps, strings, and syncopated instrumentation, the penultimate “Our New Intelligence” seemed to be the night’s crowning moment and might have been the highlight of most CMJ shows. Somehow, though, the band topped themselves once again with their final song: “Bone Marrow Twist and Shout”. Grabbing their instruments and hopping down from the stage, River City Extension brought the party to the crowd. The octet slammed acoustic chords and unmiked drums on the floor, bumping elbows with anyone daring enough to dance along.

River City Extension

River City Extension

For years, The Gaslight Anthem remained New Jersey’s best-kept secret, but the torch has undoubtedly been passed onto Toms River’s River City Extension. Hopefully stints with acts like Dashboard Confessional (December 7 in Manhattan) and The Get Up Kids strip away that title, though: River City Extension is just too good to keep locked down in the Garden State.

(unidentified song)
Something Salty, Something Sweet
Mexico
Adrianne
Our New Intelligence
Bone Marrow Twist and Shout

Miniature Tigers

Miniature Tigers

Just twenty minutes later, Miniature Tigers found themselves in a tough spot, having to follow the incredible River City Extension. The Brooklyn locals jumped into things with “Tropical Birds” and a half-hour string of other new songs from their sophomore full-length, Fortress. Soaring harmonies and quirky acoustic riffs lay the foundation for most of the band’s output, which seems rooted in experimentation in mind-altering drugs: songs like “Coyote Enchantment” couldn’t be written any other way.

Miniature Tigers

Miniature Tigers

“Lolita” seemed to come out of nowhere with a beautiful, elegant piano introduction, but things returned to status quo when the band jumped on the use of a rainstick and a bizarre “woo-hoo-hoo” vocal hook. Status quo, of course, is anything but; the band thrives on unconventional song structures and methods. Frontman Charlie Brand delivers everything with a convincing, unassuming demeanor, and it works. Miniature Tigers deserve high praise not just for their experimental indie-pop but also for their tightly executed live performance.

Tropical Birds
Rock N’ Roll Mountain
Bullfighter Jacket
Egyptian Robe
Coyote Enchantment
Dark Tower
Lolita
Mansion of Misery

Kevin Devine

Kevin Devine and the Goddamn Band

“Trouble” kicked things off for Kevin Devine and the Goddamn Band, the five-piece racing through the excellent 2006 cut.  “You’re My Incentive” went next, with Devine modifying various lyrics (“but your man slept with the waitress” replacing “as your man hits on the waitress”, for example) to reflect an even more desperate and dire tone. The spacious “Carnival” sounded great, with bits of improvisation tossed into each of the song’s constantly shifting structures; a massive feedback outro lead directly into “Another Bag of Bones”. Before “You’ll Only Up Joining Them”, Devine revealed that the setlist was hand-selected by various members of The Goddamned Band, with guitarist Russell Smith selecting the Put Your Ghost to Rest track. The band played through a faster version of the song before jumping into the rarely seen “The Shift Change Splits the Streets”.

Kevin Devine and the Goddamn Band

Kevin Devine and the Goddamn Band

The brand new “Big, Bad Man” was accompanied by Kelly Pratt, who remained on stage to provide horns for a handful of songs including “Fever Moon” which relies on a well-crafted trumpet solo to stitch the song together. Devine added some strange barking to “Murphy’s Song”, clearly enjoying every minute on stage in his hometown in front of friends and family. The lyrically stunning “Noose Dressed Like a Necklace” was supplemented with a bit of Devine’s signature cynicism: “They want you to whistle why you work — your life away.”

“Hand of God” kept the set rolling, but the biggest crowd-pleaser of the evening was undoubtedly a great performance of “Just Stay”. “The Burning City Smoking” was the night’s highlight, though, with Kevin Devine and the Goddamn Band pouring their souls into a song about “shitty journalists and shitty leadership”. Brother’s Blood cuts “Yr Husband” and “I Could Be With Anyone” dwarfed their studio counterparts, the latter featuring live beatboxing from keyboardist Brian Bonz.

Kevin Devine and the Goddamn Band

Kevin Devine and the Goddamn Band

Monty Love joined Kevin Devine and the Goddamned Band for “Cotton Crush” before the sextet performed a very different version of Make the Clocks Move leadoff “Ballgame”. B-side “She Stayed as Steam” ended the setlist, but the band returned with “You Are the Daybreak” and a seven-minute version of “Brother’s Blood” to wrap up the evening at 12:20PM.

Trouble
You’re My Incentive
Carnival
Another Bag of Bones (Time to Burn)
You’ll Only End Up Joining Them
The Shift Change Splits the Streets
Big Bad Man
Fever Moon
Murphy’s Song
Noose Dressed Like a Necklace
Hand of God
Just Stay
The Burning City Smoking
Yr Husband
I Could Be With Anyone
Cotton Crush
Ballgame
She Stayed as Steam
You Are the Daybreak
My Brother’s Blood

Kevin Devine and the Goddamned Band performed for just under ninety minutes, offering the crowd what might have been their best performance to date. Everything clicked, and, despite a hit-or-miss CMJ audience, the six-piece was simply fantastic across twenty songs spanning eight years of recordings. Devine announced that he would be finished playing in New York City for the year; the night’s performance undoubtedly created anticipation for his inevitable return in 2011.

All photographs by the extremely talented Kenami.


The Hold Steady / Naked Hearts @ Wilmington 10/9/2010

October 9, 2010

Twenty miles outside of Philadelphia proper, Mojo 13 sits off Interstate 495 adjacent a tiny neighborhood . A few hours in any direction from the venue, The Hold Steady would be playing in front of more than a thousand people as part of their Heaven is Whenever tour. Nestled just outside of major markets, though, Mojo 13 presented the opportunity to catch the band in what should be described as their native element: a tiny bar.

Naked Hearts

Naked Hearts

The two-piece Naked Hearts started the show at 10PM, playing an indie-rock influenced blend of rock-and-roll. Frontwoman Amy Cooper lead the way, providing fleshy guitars over piped in bass lines and drummer Noah Wheeler’s enthralling percussion; the Brooklyn duo shared vocal duties with surprisingly strong performances. Naked Hearts played cuts from their brand new full-length Mass Hysteria, as well as tracks such as “Cat and Mouse” from 2009′s These Knees, successfully whetting the appetite of a crowd waiting patiently for The Hold Steady.

The Hold Steady

The Hold Steady

Minnesota-rooted The Hold Steady started things “the only way they know how” at 11:15, kicking into “Positive Jam” from their 2004 debut, Almost Killed Me. The band moved forward through their discography, touching next on Separation Sunday with “Chicago Seemed Tired Last Night”. Things jumped forward with “Hurricane J”, a rowdy romp from their newest album, and continued to spiral out of control with winding guitars on “Same Kooks”.

The Hold Steady

The Hold Steady

Frontman Craig Finn introduced “Girls Like Status” noting that he was always taught that “guys go for looks, but girls go for status”, and with those succinct words The Hold Steady launched into the Boys and Girls in America b-side. One of the many stories about the recurring, fictitious Holly came in “Bangin’ Camp”, the crowd roaring for the 2005 cut. “Our Whole Lives” found the band at their most cohesive moments thus far, locking together for the song’s distinct start-stop rhythms while Finn told tales of teenagers in Anytown, USA: “Cheerleaders dream of quarterbacks / Jock Jills go for jumping Jacks”.

The Hold Steady

The Hold Steady

“Barfruit Bars” was especially appropriate at Mojo 13: the venue is hardly more than a bar with a small bar-band performing area. Standing in a pile of tallboy cans littered throughout the crowd, the Almost Killed Me track was particularly poignant. “Heaven is Whenever” was beautiful, marked with a sly moment of Finn putting up finger quotes while delivering the final four words in the song’s pivotal lines: “Heaven is whenever / we can get together / lock your bedroom door and / listen to your records”.

Oh, Craig, you cunning linguist.

The Hold Steady

The Hold Steady

For the first time in the night, single “Chips Ahoy!” had the entire floor singing and dancing together in unison to Finn’s tales of betting on horses (and using the winnings as recreationally as possible). “Stuck Between Stations” followed, capitalizing on the energy from the previous Boys and Girls in America track to keep the crowd moving forward towards the barrier-free stage. The quirky, groove-laced “The Smidge” was excellent, and “Sequestered in Memphis” was a full-crowd singalong. Similarly, longtime The Hold Steady fans shouted unitedly with Finn during “The Swish” as he name-checked both the Journey guitarist and the prolific jazz pianist: “She said my name’s Neil Schon / but some people call me Nina Simone”.

The Hold Steady

The Hold Steady

The newer “Rock Problems” was a refreshing blast of rock-and-roll, and the band wrapped up their set with two more songs about the promiscuous Holly with rousing performancse of “Your Little Hoodrat Friend” and “How a Resurrection Really Feels”. The harmonious vocals of “Southtown Girls” began The Hold Steady’s encore, with the sequel to “Chips Ahoy!” — “The Weekenders” — immediately following. Nearly two hours after opener “Positive Jam”, the  compelling “Stay Positive” concluded the night with an exclamation point.

Positive Jam
Chicago Seemed Tired Last Night
Hurricane J
Same Kooks
Girls Like Status
Navy Sheets
Bangin’ Camp
Our Whole Lives
Barfruit Blues
We Can Get Together
Charlemagne in Sweatpants
Chips Ahoy!
Stuck Between Stations
Stevie Nix
The Smidge
Sequestered in Memphis
The Swish
Rock Problems
Your Little Hoodrat Friend
How a Resurrection Really Feels
Southtown Girls
The Weekenders
Stay Positive

The Hold Steady

The Hold Steady

The Hold Steady’s twenty-three song setlist was fantastic, with stellar performances of some of the band’s best songs. Heaven is Whenever‘s “The Sweet Part of the City” and “A Slight Discomfort” were notably missing from a show supporting that album, but it’s hard to complain when a band unleashes nearly two hours of songs from across their entire discography. The Hold Steady’s intimate barroom performance will undoubtedly be remembered for a long time by fans lucky enough to have attended.


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