If you’re from Houston and were wondering, Warehouse Live does have a Grand Ballroom. If you can call it that. I have often wondered myself what admittance into the ballroom takes, as the auxiliary stage is being used whenever I attend. Apparently it takes Mates of State, a husband and wife team noted for their vocal harmony.

First we owed the pleasure to Black Kids as the opening act. Where would these guys (and gals) be without the internet? They posted four songs on their MySpace page a few years back and that was enough to start the blogroll. Yes, several bogglers like myself created a quick buzz for the EP titled, Wizard of Ahhhs. From Jacksonville, FL, the Black Kids consist of Reggie Youngblood on guitar and lead vocals, his sister Ali Youngblood and Dawn Watley on keyboards and backing vocals, Owen Holmes on bass, and Kevin Snow on drums.

The playful dance-along-to raucous has the tendency to cloud any lyrical seriousness or emotion. After all, as NME has pointed out, these songs are all about having desires. “I’m Not Gonna Teach Your Boyfriend How To Dance With You” is quite obviously about jealousy. The fact that someone has been hurt by rejection, however, may not cross your mind as you clap and sing along. In addition, there are actual goofy, good-humored lyrics such as these from “I’ve Underestimated my Charm (Again)”: I get angst in my pants/ and goddam it to hell/ it don’t help if I dance.

The girls and their dueling keyboards were a nice compliment to Reggie’s impressive Robert-Smith-transmitted vocal. Furthermore, Dawn sometimes played co-vocalist (as opposed to backing) on songs such as “Listen to Your Body Tonight.” Echo-back styling’s among the girls and Reggie added to their largely vivacious and impish mood.

Reggie kept requesting the lights to come down. When they had not yet met his satisfaction he seductively said, “a little lower please.” The Kids were fun, as were Mates of State. I have never seen such fun being had by band members themselves. To illustrate, the Mates passed shots to all the Kids during their set. Then they pranced onstage with Sunbears, the first opening band, wearing masks and wigs and threw confetti. It’s hard to imagine that the Mates are proud parents of two young children.

The Kids dedicated “Hurricane Jane” to the Mates, or as they like to call them, ‘the inmates of the States.’ Thanks to Ali, this is the most synth-participated song of the LP, Partie Traumatic. Following the set, Reggie walked to the end of the stage, I guess to shake some hands, and Owen pushed him off. The look on his face as he fell told me that the nose dive into the crowd took him by complete surprise. The stage crew ran to his rescue but only saved his guitar. He had to scale the stair railing to get out. You’ll see in the YouTube video below. If you watch to the very end you might see me looking like I went to give a high five that wasn’t reciprocated as he walked by.

1. Listen To Your Body Tonight
2. I’ve Underestimated My Charm (Again)
3. Look At Me (When I Rock Wichoo)
4. UFO Cool
5. Hurricane Jane
7. Love Me Already
8. I’m Making Eyes At You
9. I’m Not Gonna Teach Your Boyfriend How To Dance With You

When they were through, Lindsey started grumbling about how I’d kept her up past her bedtime and threatened to call a cab if I didn’t agree to leave soon. I said, “go right ahead” but really I was upset that my scheme to keep my sister there by offering a ride did not work.

A chime broke the silence that anticipation had brought over the crowd. It was followed up by a horn to ring in Hammel’s vocal introduction and Kori’s piano. They started with “My Only Offer.” They are credited with fluctuating rhythms and fragmented arrangements as well. “Fluke” is a good example of this. Lewis, on loan from another band scheduled to play Meridian the next night, was given a cello solo to follow “Fluke.” He stuffed it aggressively with heartrending to high spirited staccato.

“So Many Ways” gave an air of sophistication. A violin murmured from the low-lit backgrounders. I gazed around the room and noticed that Mates of States had drawn an older, calmer crowd. Some of the energy present for Black Kids thinned out when the Mates took the stage. For one, the hipsters who, while standing in front of me, drew eyes from all directions due to their progressive attire and eccentric dancing didn’t stick around.

During “Ha Ha” Youngblood wandered onstage and started dancing. I think he was getting drunk. He had a shot and a beer during his performance and my guess is that it only continued afterwards.

“Open Book” is undoubtedly a chaotic mess. However, it’s a brilliant chaotic mess. For the most part the pair simultaneously sang completely different melodies. Nobody in this group plays the guitar, not even the borrowed members. I didn’t see a need for one either. Strings joined in at the building end of “Open Book.” Adding to the chaos and distraction of this number were Sunbears throwing CD boomerangs into the crowd from behind the curtain.

“Re-Arrange Us” continued to display the Mates penetrating, lofty-ranged voices. Everyone was onstage once again. I counted a total of 14 people.

“Long Way Home” is a Tom Waits cover and they chose to perform it as their first encore. Hammel played a free standing bass drum alongside Kori’s piano and I spoke too soon when I said no guitars. Thinking back I can hear an electric guitar coming from the upstage fiddler. “Goods (All In Your Head)” closed the show. 7 snare drums were carted on-stage. Everyone was playing something. There were two people per keyboard and three people on Hammel’s drum set. What a way to bring things to a close! Have a listen to “Ha Ha” below.

1. My Only Offer
2. Get Better
3. Fraud in the ‘80’s
4. Fluke
5. So Many Ways
6. Think Long
7. You Are Free
8. Ha Ha
9. Now
10. Proofs
11. Open Book
12. Re-Arrange Us

Encore

1. Long Way Home (Tom Waits cover)
2. Goods (All In Your Head)

I was in Austin for a total of 91 hours and only 14 of those hours were wasted on sleep. It was South-by-Southwest weekend, the annual conference showcasing hundreds of bands that travel to Texas from all around the world. I had wanted to attend Hamilton in Hollywood but plans changed and I had to go here. It takes an entire year of volunteer preparation for the culmination of events that take place. When SXSW day I arrives it is up to the industry experts and the general public to propel the festivities for the next four days. The casual attendee might be found sipping a beer and listening from afar not knowing the talent being displayed. The fact is that these are more than bar bands. They are touring bands. They are buzz bands.

What I thought I would do is give you a brief analysis of each band I saw; most of which were planned for, others whom I was lucky to catch by simply being in the right place at the right time, and the few that I could have done without. That sounds reasonable right? Well, brace yourselves because I saw 45 performances over the course of four days. One of these days I’ll have to learn how to be a more concise reflective writer but for now this is my blog; therefore, everything in my head wants to be transplanted into this entry.

I left immediately from work last Wednesday and, making good time, arrived just before 8pm. I waited in line at one of the hot spots, Stubbs bar, and wristband sales ran out when I was just feet from the ticket counter. That wristband would have eliminated every door charge for the rest of the weekend so long as I kept it on. I thought, “Oh boy, this is not getting off to a very good start.” Nevertheless, I opted to pay the Stubbs cover for the evening, as that was the venue I planned on attending anyway.

Wednesday Night’s NPR Showcase

8PM: When I made it into Stubbs, for the World Music and Arts National Public Radio showcase, I caught the end of Janelle Monáe. Ms. Monáe is a slight, neo-soul, fantasy-fixated girl sought after by Sean Combs and signed to Bad Boy Records. I enjoyed the strange space-funk material that others have classified as sci-fi but I didn’t care for the heavier stuff. I don’t like destruction, unlike some people who get really pumped and riled up when an artist picks up the microphone and throws it to the ground as she did. The crowd surfing I didn’t mind. She wears a bizarre Prince-like hairdo, a black bow tie, and saddle shoes. Furthermore, she combines her look with some reinvented 50’s dance moves.

9PM: Ladyhawke followed as the first of many electronically inflated string and synth sounds of the weekend. She’s from New Zealand and has brought with her a new age style of retro, topped with very few lyrics. “My Delirium” is one of the singles on her self-titled debut album and also the song I found most enjoyable during her performance.

10PM: Songwriter Erika Wennerstrom of the Heartless Bastards has a new band to back her husky voice. She also has a new, darker, junior album called The Mountain. They did “Sway” and “Out at Sea” from the recent release. Then the newly assembled bunch played “Blue Day” as Erika crooned, Lord knows it’s been a while/ since my face has cracked a smile. I love that song!

11PM: One of the most anticipated shows for me was The Avett Brothers, who are not new to the indie festivals or the magazine interviews. I waited a long time to see these guys who partake in a whole genre that mixes bluegrass with punk. They play their instruments with such intensity. Scott Avett, the brother contributing banjo and drums, showed the most personality, in my opinion. He and his brother, Seth, did a duet called “Murder in the City” with acoustic guitars and a cappella harmonies.

I wonder which brother is better/ which one our parents’ love the most/ I wondered what my dad would say/ he said I love you/ I am proud of you both/ in so many different ways. The touching lyrics sparked a hint of sarcasm in the guy standing next to me as he turned to say, “I just have something in both of my eyes. I’ll be fine.”

12AM: Now for the reason most of the gang showed up at Stubbs Wednesday evening. The Decemerists were there to play the entire new album, Hazards of Love, from top to bottom (of course, that’s the only way this one can be done, as it tells a story). This was the first time they were doing it live and NPR plugged it for a while. This 8 piece rock-opera conglomeration is led by Colin Meloy who, using principle and supporting roles, immerses us in a disturbing forest tale of an abduction. Several cast members come to us from different bands. Shara Worden from My Brightest Diamond plays the selfish and revengeful Queen. Her introductory number, “The Wanting Comes in Waves/ Repaid,” is my favorite. Becky Stark of Lavender Diamond plays Margaret, the naïve and childish damsel who always wears a smile and fusses with the ruffles of her dress. Margaret’s love interest is Meloy himself playing the Queen’s adopted son, William. Jim James of My Morning Jacket and Rebecca Gates of the Spinanes also lend their voices.

There is no down time. Not once does the stage fall silent to indicate the end or the beginning of a new song and never is the masterpiece interrupted for audience acknowledgment. During “The Rake’s Song” 5 of the 8 members pelted base drums with cloth covered mallets as they screamed All right/ All right/ All right! This is the part in the story where the rake, translated in this context as the villain, kills his children after their mother dies giving birth to his fourth child. I could only stand in awe as I watched to whole thing unfold. I just have one question. They wanted the beginning of “Margaret in Captivity” to sound exactly like Bon Jovi’s “Dead or Alive” right?

Wednesday Night’s KCRW.com Showcase

1AM: The Swedish rocker, Ida Maria, was scheduled to close the night at Buffalo Billiards to finish off Southern California’s leading NPR evening showcase. She didn’t make it to the show. I read later that she got held up in customs and never made it to SXSW at all. A little acoustic act by Zee Avi filled the slot. I don’t think I’m disappointed. At one in the morning who really needs to hear alt-rock coming from a tiny Norwegian girl anyway?

*****

Thursday morning I arrived at the Austin convention center heart set on attending a blogging panel but wasn’t granted entrance because I didn’t have an industry badge.

Thursday Morning’s Rhapsody Rocks Austin SXSW @ The Mohawk

12:50PM: The first day party I attended was hosted by the online music library subscription service, Rhapsody. It started off with two bands I didn’t care for. To me, The Vivian Girls were just three girls trying too hard to be a punk trio. I read a flyer for Cochella later in the day that listed them in the lineup. I can understand having them on the bill for a free show at SXSW, but Cochella? I haven’t been to Cochella but I know that it’s a big music and arts festival in California. It’s nothing compared to SXSW but that only helps me further in making my point. Shouldn’t they be more selective in who they let in? On second thought, who am I to say they’re not entitled to perform with the likes of Paul McCartney and The Killers at this years’ Cochella? I hope you sensed the mockery in that statement.

1:30PM: I’m bored. Wavves was playing a song called “Beach Demon” which repeated the phrase ‘Going Nowhere.’ I would have to agree. I would say don’t quit your day jobs fellas but in this case I guess you need to. That is, in order to get real jobs. They were young and their lyrics were, by no means, beyond their years. Rather, they were quite juvenile. They played a couple sentimental tunes and front man, Nathan Williams, was singing how he couldn’t wait to get home and tell his girl that he loved her. Although, before he told her he had to ask for a “shitload” of more reverb in his guitar. I don’t know about you but when I hear a sappy song I prefer mellow accompaniment to heavy distortion.

2:10PM: School of Seven Bells (SVIIB). This is what I came to see. Decked out in their fashionable ensembles, the girls couldn’t have looked cuter. I think they resemble The Veronicas but I also think that my conclusion was drawn from the fact that, like The Veronicas, Alejandra and Claudia Deheza are another set of dark haired identical twins. Together, and with the help of founder Benjamin Curtis, they create a cohesive dance and contemporary pop beat. The lyrics to the floating vocals are derived from the twins’ lucid dreams and they contribute to the overall eerie feel. Benjamin provided more guitar than I remember hearing while listening on imeem. At times I thought it got in the way. “My Cabal” is an excellent song, though I don’t have a clue what it means.

Thursday Afternoon’s Paste Magazine Party

4:30PM: I headed over to the Radio Room and had to wait in line but was lucky to catch Thao with the Get Down Stay Down. The creatively playful lyrics are what I find attractive about Thao Nguyen’s music. Fire compels/ fire consumes/ you are a cheater/ you are fireproof. My guess would be that these words, from her song “Geography,” attempt to depict her difficulty escaping the hold a person, perhaps an ex, might have on her. However, it’s hard to tell whether this issue has caused her any pain because she has included jazzy cymbals and bluesy guitar riffs making the song too pleasant. When she talks to the crowd she brings out her edgy side. She asked us if we wanted to hear a new song but before we could respond she said, “Now I’ve cornered you. What are you going to say? No?”

5:15PM: Passion Pit was enough to wake me up, as it was approaching the brief downtime between afternoon parties and evening venues. I was thinking about nabbing the edge of a picnic bench but decided to stick it out. They were rowdy and hyper and all over the place. I think Michael Angelakos’ high pitched voice was a bit over the top. They talked too much for a thirty minute set. If you’re only given thirty minutes you shouldn’t be wasting any time on meaningless chitchat. Beer spilled on the keyboard and Michael showed real concern when he thought he may have broken it, but then he insisted that he had done it for us. “I broke it just for you,” he said.

Thursday Night’s Hotel Café Tour

7:30PM: The Hotel Café Tour is inspired by a venue in California where several promising artists made their start. Now, and for the past four years, a national tour has made an attempt at bringing the café atmosphere to other parts of the U.S. Caitlin Crosby was the first to kick off the evening with a song called “Generation.” She has a raspy voice which she alternates from reserved to powerful and visa versa. She sounds a lot like Missy Higgins and maybe a bit like Brandi Carlile when she gets really excited. She ended strong, aggressively strumming away on her bright red guitar and couldn’t help but let a ‘Fuck’ slip when she broke a string.

8PM: Holly Conlan followed singing a song called “Winter” from her new five track EP titled Bird. Her songs are about love and, if you’re a lyrics person, you might be drawn to her sweet narratives. During her second song she shared a piano bench with her band mate, Phil, and the two of them played a duet.

8:30PM: If you’re from San Diego and you listen to midday radio you may recognize Anya Marina as the KBZT disc jockey. In addition, her music can be heard on various television soundtracks. The follow-up to her debut, Slow & Steady Deduction: Phase II, was released in January. Ms. Marina is a poet and a writer with a degree in English. She writes funny, simple, relatable, and easily interpretable lyrics. She did a cover of T.I’s “Whatever You Like” and I, for one, liked her adaptation better.

9PM: I was introduced to Lisa Hannigan through the fairly long-running drama, One Tree Hill. Long enough, at this point, that I’m too old for it but I still watch because I’ve been doing so since its pilot. It sounds like an accordion, looks like a keyboard, and is called a harmonium. I don’t think I’ve ever seen anyone else play this exotic instrument. Actually, I take that back. I think The Decemberists’ Jenny Conlee played one. Lisa also plays the electric guitar, the bass guitar, and the drums. Therefore, until her recent solo spotlight emergence into the indie-folk world, her instrumental abilities were utilized by other artists such as Damien Rice.

Thursday Night’s Next Big Nashville Showcase at Maggie Mae’s

10PM: I headed to the Gibson Room of Maggie Mae’s, perused the mounted Gibson guitars, and then honed in on the Nashville native, Landon Pigg. I had stumbled upon this singer/songwriter a few months back and was excited to catch his little preview. “Falling in Love at a Coffee Ship” is the track I was familiar with but the rest were equally appealing. I was ready for some easy listening, as it had been a long day. His music is beautiful and poignant and sways into the influential realm of country.

Thursday Night’s Emusic Showcase

10:30PM: There is a stunning Presbyterian church off of 8th Street in Downtown Austin and it, too, was used to entertain musicians and spectators. In the dark I fumbled my way to an open pew and heard a heartfelt number called “Junebug Waltz” by Hurray for the Riff Raff. It’s a four piece junkyard-folk band hailing from New Orleans and fronted by multi-instrumentalist Alynda Lee.

11PM: It’s hard to tell whether Amanda Palmer is part of the hipster world or the roots world. Everyone in the church seemed to know her and, from pre-show networking, I gathered that several people in attendance had also seen her before. I’m guessing that these viewers were fans of Ms. Palmer’s former duo, The Dresden Dolls. I met a girl who books bands for clubs and venues in Detroit and Lansing, Michigan and was naming places like “The State Theatre” and “The Green Door.” We bonded because, while I was enrolled at Michigan State University, I would go to The Green Door on Monday evenings. It was a blues bar but they brought in all different kinds of cover bands and original performers.

Amanda emerged and stood silent in front of us for almost an uncomfortable amount of time. Then she proceeded to sing her first number a cappella without a microphone. In her pure, deep range she implemented a song that was quite vividly about death. She then sat down and played a very tragic piano introduction before inviting requests. For the rest of the show people shouted out their favorites while I was just there to observe what she was all about as an artist. Some of her songs are hysterical, for instance, she has a song called “I Google You.” I Google you/ when it’s late and I don’t know what to do/ I find photos you’ve forgotten you were in/ put up by your friends. Other songs, however, are very dark and dramatic and they honestly scare me a bit.

12AM: Elvis Perkins in Dearland had just put out an album two weeks prior and were in Austin to display tracks from that release. This is folk-rock. Not quite as severe as The Avett Brothers but still very dynamic. The horns were impressive, as was the percussive impact. They had some trouble with their sound and I got impatient and left to catch the last band I had penciled in for the night.

Thursday Night’s Carpark Records/ Paw-Tracks Showcase

1AM: They call it dream-pop. The name Beach House is kind of symbolic to the bands’ approach. The songs are layered with elaborate sounds resonating from keyboards, harpsichords, steel pedals, and so much more (I think the bands at SXSW compete with each other to see who can involve the most instruments in their work). The ambient result of fusing such devices together is that of a lonely and isolated experience, similar to what a secluded beach house would evoke.

Alex Scally spent much of his time bent over his computer manning the drum-machine or maybe the complex additions constructed by some fancy apple software. This possibility comes to mind due to my attendance at a recent seminar organized by The Mitchell Center for the Arts. Caroline Collective, downtown, hosted a hands-on Ableton Live Music Production Workshop, taught by Los Angeles-based electronic musician and DJ Steve Nalepa. He showed us how the intricate program operates and I am convinced that one doesn’t even need to play an instrument to be a musician nowadays. I am also convinced that the world better end soon because I can’t imagine things getting anymore advanced. Look out for this Steve character. He just completed a three disc project. One has original works, one is paired with video footage, and the last one has overdubs of his original songs. It might be something worth checking out. As for Beach House, I came across the flyer distributed at this show while sifting through all the garbage I trekked home with me. As a reminder of how much I enjoyed their performance, I had scribbled on that flyer, “Get the CD!”

*****

1PM: I was in the Austin Convention Center looking for some breakfast. Yes, I know it was one in the afternoon, a perfectly appropriate time for breakfast. Anyway, unfortunately I came across Juliet Lewis singing her heart out. I’m sorry; she should have just been a one trick pony. The acting is alright. The music is bad. I should have gone to the SESAC Day Stage to see Emily Wells, a classically practiced musician who blends her latest album with hip hop.

1:30PM: The Swedish duo, The Tiny, droned on at a constant and steady speed but was sufficient enough to accompany my bagel and orange juice. At least the guy (Johan Berthling) was giving us a little off-the-string bouncing from his double bass.

Friday Afternoon’s Insound Day Party

2:30PM: Insound is an online indie store that sells albums and other band paraphernalia. First on the agenda was The American Analoge Set. These Austin-based guys have had a number of successful releases all emanating a generally relaxing experience. If it weren’t for the intensity of the sun beating on the back of my neck and shoulders I would have been in Heaven. I swear that the soothing, long-held notes and instrumental segments of these mellow songs could drag the tension right out of a person having a stressful day. I apologize for the poor photo. All you get is a silhouetted backlit one, as the sun was behind me.

3:30PM: In my opinion The Thermals are just alright. I was there for a confirmation. I learned that I should never second guess myself. I also learned, however, that you shouldn’t listen to me. You should explore for yourself and come to your own conclusions because I met a guy named Nate, an indi-film producer of Spitfire Pictures currently working on a project called “The Way Back,” who enjoyed The Thermals more than The American Analoge Set. I will say that Kathy Foster is adorable and provides great vocal harmony. She should have taken a lead vocal for a few songs. I noticed her excessive head-banging before she announced that, “head-banging is better than drinking.” I have an awesome picture of Kathy.

4:00PM: It was back to the Convention Center for a performance by Lenka. SXSW films all of the shows at the Convention Center Bat Bar and Lone Star Lounge for television broadcasts. You can tune in for replays if you get Direct TV. Lenka appeared with a tiny black dress and feathers in her hair onto a stage scattered with cardboard cut out replicas of her album cover décor.

She did a complete set, all but one song from her debut solo album. During “Skipalong” she used a key-tar, one of those keyboards that you wear like a guitar. When she sang her single, “The Show,” she asked us to dig deep and pretend to be the drunken chorus singing, I want my money back/ I want my money back/ I want my money back, to which she replies, “Just enjoy the show.” She used actual WWII radio waves to accompany her during “Like a Song” and ended with the uplifting “We Will Not Grow Old.”

Friday Afternoon’s Filter Magazine Day Party

6:15PM: I didn’t even need to pay to see White Lies, as Cedar Street Courtyard is, well, an outside courtyard. I was able to watch from behind the blockade and was beginning to think that I could come in under budget if my luck continued. Wholesome, unaltered, 80’s influenced-English-rock is my assessment of the White Lies.

Friday Evening’s ‘The Bedford @ Creekside at Hilton Garden Inn’

8PM: The Bedford is a venue in London that has jolted the career of many aspiring artists including, Paolo Nutini, James Morrison, and Amy Macdonald. This year the show began with a young lady named Ana Silvera. She sang a song inspired by the Hans Christian Anderson fairy tale, “The Snow Queen.” The story is about a little boy and a little girl who, faced with a struggle, have to band together. So, Ana wrote this song for her brother.

With the phenomenal voice of an opera background she mesmerized her viewers. Not to mention her addition of humor as she gazed over the crowd and said, “It seems we have a nice mixture of Yanks and Limeys out there.” For my sake, it was good that she clarified the meaning for the term “Limey.” It refers to the English population but I had never heard that slang before. Furthermore, she performed a cover of “Womanizer.” To disclose a secret, I went to this showcase as my backup because the second night of the Hotel Café Tour was sold out. My point is, I felt like I had missed out on something and then I heard a classical pianist, who had just finished singing a song in French, performing Brittany Spears. I guess you can never be disappointed at SXSW.

They were casting a virtual version of the performance in Second Life to folks in London and Dublin.

Friday Evening’s ‘ASCAP Present’s…Quiet on the Set’

9:15PM: In the Victorian Room of The Driskell Hotel we all sat on the floor, exhausted from the day, and patiently waited for Madi Diaz to begin her set. When she stepped to the forestage and saw all of us Indian-style on the ground, she joked that she felt like a kindergarten teacher. Her guitarist told us the place was haunted and asked if we knew the story.

I wasn’t expecting a full band. The songs I had familiarized myself with were mostly acoustic. She reminded me of Tift Merritt who I saw last year at SXSW. Her traditional folk style has a southern country tilt to it. She included a gentle cover of Whitesnakes’ “Here I go Again.”

Friday Evening’s ‘The Bedford @ Creekside at Hilton Garden Inn’

10PM: Back at the Bedford I caught a performance by Kiernan McMullan. He had such poetic lyrics to all of his songs. Don’t go changing water into wine/ nobody wants the responsibility of being that divine. Those words were supplemented by the piano but most of his material was on guitar. Way too young to be unhappy/ way too old to think where to begin. These lyrics belong to a song he wrote while touring the United States hitchhiking. He didn’t have a name for that song yet. Nor did he have a name for the next one but he wanted to play all of his new songs for us because, “you guys are listening,” he said. Refreshing for him, as he’s not usually the sole purpose for the gatherings he typically caters to. You know how bars and clubs are. Nobody really pays attention to the acoustic music on the patio. So he wanted to take advantage of our attention.

He played a moving song called “That Afternoon” which was inspired by spending the afternoon with his 8 year old cousin. He didn’t quite know what to do with her so he told her to have a shower, brush her teeth, watch some cartoons, etc. She came back twenty minutes later having done all of those things and decided to engage in conversation with him. How’d you get to be so smart/ she said, “I guess I’m just not an uptight bastard”/ to quote someone a little bit great/ there’s far more to life than making it move faster/ where’d you learn that?/ she said, “In school”/ do you know who it is?/ yeah, it Gandhi you fool. These are the words he credits to his cousin and that conversation. He played an amazing instrumental leading into the song in which he picked the neck of his guitar with both hands.

He was given a standing ovation when he was through. He seemed surprised by that, and also by the fact that people formed a line to purchase his CD and get his autograph. He hasn’t yet had the exposure he deserves. He’s a little bit of Jason Mraz, a little DMB, and a little Justin Nozuka all rolled into one. Plus he’s got a song that sounds so much like Zero 7’s “Do You Believe” (for all you fans of the Garden State Soundtrack) that you could almost call it plagiarism, but what do I care? Most of all he sounds like Kiernan right? All artists like to hear that they sound original.

Friday Evening’s RedGorilla Music Fest

11PM: The purpose of RedGorilla is to promote up-and-coming independent musicians and bring them to Austin to engage in, and be a part of, the SXSW line-up. Taking advantage of this opportunity was a band called SHIROCK. When I was in high school I attended a church in Novi, Michigan called Oak Point, pastored by Bob Shirock. Chuck is Bob’s son, and the front man to the band. In 1998 Our Lady Peace had just released the album, Clumsy, with the song “4 A.M” and I used to compare Chuck’s voice to that performance by the groups’ lead singer and songwriter, Michael Maida. SHIROCK sounds a lot different now then they did in high school; still distinctive but also original. Chuck definitely found himself when he moved to Nashville to attend school to be a musician.

If I may, I would like to share a quick memory I have from one of pastor Bob’s sermons. He was making a point that you can only teach your children so much before they head off in their own directions without your help. In doing so they may even surpass your own knowledge of the skills you introduced. To illustrate his point he showed us an old family photo and looked back on a time when he was teaching his son’s how to play the guitar. He was directing their finger placements as they struggled to reach the proper strings. Bob instilled an appreciation for music that each of his children took to greater heights than he ever did. Teasing he said, “Now I’ve got a jazz drummer on my hands” (Chuck’s younger brother, Scott). I will credit all the talent to Chuck, but sometimes talent doesn’t matriculate until it is induced. Not only did Bob Shirock equip his family with the knowledge of the truth, he also planted the musical curiosity. Sometimes you have your parents to thank for who you become.

SHIROCK just released an album called Everything Burns. Along with a title for the album, Everything Burns is the bands’ non-profit organization. They use the music as a platform to get people connected with the things in this world that matter, like homelessness and hunger. They collaborate with Project: AK 47, a fight against the exploitation of children soldiers.

Friday Evening’s Polyvinyl Record Company Showcase

1AM: I jumped at the opportunity to see Asobi Seksu on the Habana Calle 6 Patio as the last show of the night. When asked by another bystander what I thought I replied, “Well, it’s a big old noise band.” Don’t get me wrong, I love the noise bands and SXSW is definitely celebratory of “noise bands.” Yuki Chikudate puts forth a stunning vocal melody that aims at the impossibility of being distinguished from the modified guitar and keyboard effects. In other words, you can’t understand what she says but you aren’t really supposed to because everything should blend magnificently.

Were any of my readers out there avid watchers of the Television series E.R? I sat down after Asobi Seksu and began discussing the performance with the gentleman next to me. Minutes later his friends reconvened and he introduced one as George Clooney. As I laughed he went on to say that this friend, Dr. Robert Feldman, is the medical doctor at Cook County Hospital whom George Clooney emulated for his character, Dr. Doug Ross. For twenty minutes as we continued talking I wasn’t convinced but Dr. Feldman had an answer for every strange question I had. Who knows. I’d like to think I’m not that gullible.

And so, it was time to head back to my buddy William’s place to crash. He had been sending me text messages and eventually one saying, “I’m going to bed but I’ll leave the door unlocked.” Don’t feel bad for William. He knew what he was in for. I told him I had a set schedule and I was going to be out-on-the-town the whole time I was in town. We did catch a few shows together but he didn’t understand. He was only into the free stuff.

*****

On Saturday, I took the advice I had been given by an Austin native I met on Friday. She said I could park at the public library and take the bus in for $.75. Good idea! I was still under budget.

Saturday Afternoon’s Q Magazine Party (World Tour in association with Guitar Hero)

2:00PM: Just to let you know, RSVPing for a day party does not mean shiet! You don’t get in without paying and you don’t get to go to the head of the line. Furthermore, of all the lists I should have been on I didn’t see a single doorman refer to one. So, after waiting in line and paying the cover I was welcomed into The Parrish for the Q Magazine Party.

It started with a group that I had seen at Austin City Limits called Delta Spirit. Now on Rounder Records, these guys have an official release for their debut, Ode to Sunshine. They bring a lot of energy to the stage with their sort of southern-rock, alt-country fusion. Fitting to the song title, “Trashcan” was performed with one of the band members pounding on a trash can lid. Singer, Matthew Vazquez, made sure to end with a strong vocalic throaty scream. Interesting, as the last song sounded somewhat like bluegrass at the start and Vazquez momentarily reminded me of Ketch Secor, the lead singer for the band Old Crow Medicine Show.

3:00PM: Among the common instruments, Fanfarlo incorporated the aerophone, clarinet, violin, trumpet, mandolin, and melodica. On their second song they did a jam featuring the clarinet. With all these things going on at once I was reminded of The Decemberists and saw a comparison between the two.

3:30PM: Jay Jay Pistolet was under the weather and, for that reason, he only did a few songs. His singer/ songwriter skills have come together to shape a Mediterranean kind of resonance. It’s got a Tuscan feel, if you will.

4:15PM: Pete and the Pirates were performing their eleventh and final SXSW show at The Parrish on Saturday afternoon. I can only imagine how exhausting the week is for the performers. I was tired by the end of each night and all I had to do was bring myself to the shows. Their new album, to be released sometime in 2009, is called Jennifer and the single is already available. They don’t have anything grandiose to communicate in their lyrics. She’s bad for me/ she helped me steal a car/ to drive beneath the stars. This jingle was performed with a line-up of four guitarists sprawled across the front lip of the stage. Their second to last song encompassed a cute little upbeat 5 or 6 note lick which they added doo-doo’s to.

4:50PM: Graham Coxon, the former lead guitarist of Blur, started his set with a song that he said describes what goes through a man’s head during the time it takes for a bullet that has left a pistol to reach his chest. He was a wonderful finger-picker and his artistic endeavors have led to a folky, bluesy, Dylan-ish combination. He did a cover of Grateful Dead’s “Oh Babe it Ain’t no Lie,” after saying he wanted to end with an American song.

5:30PM: When the front man for You Me at Six came on-stage wearing a Misfits shirt I thought, “uh oh.” Sure enough, the lights went down and the Blink-182 stance assumed. You know what I mean, the straddled legs and the head down with an exaggerated full-arm stroke on their guitars. These showcases are so strange sometimes. You can hear some really low-key stuff one minute and the next you’re listening to metal. For the most part, I was lucky to know who I was seeing and didn’t run into this problem too often. The jumping up and down began and I had had enough. I was going to go find some dinner. You’ve all read enough by now to know that punk is not my drug of choice.

Saturday Night’s Barsuck Records/ Merge Showcase

8PM: I have been purchasing Barsuck records for a little over a year now and the whole time I have been pronouncing it wrong. Turns out, it’s Bar-sook, not Bar-suck. Telekinesis, of the Merge record label, was the kick-off act of the night. Michael Lerner sings and writes the songs and also plays the drums. Whoa! You almost never see a drummer as the front man. Written as expressions of his own experiences, Lerner’s lyrics are factual.

9PM: During the downtime between sets we were graced with Jason Hammel from the duo Mates of State. He spun records from a little makeshift DJ set-up that he had tightly packed into the corner of the stage. I recognized Ladyhawke’s “My Delirium” and M83’s “Kim and Jessie.”

It was my second time seeing Andrew Kenny at SXSW, as The Wooden Birds were up next and he performs with them and with The American Analog Set, whom I saw on Friday afternoon. Not surprising, very similar are AmAnSet and The Wooden Birds. In addition, both sound a lot like The Grand Archives. The Birds’ first album, Magnolia, will be available on May 12, 2009.

10PM: Lou Barlow brought enough guitars for a small army. He had one that looked like it could have been eighty years old and was plastered with stickers. With all those instruments to go around he only had one other soul on-stage with him. He and his buddy, Imaad Wasif, strummed their hearts out to every song the two of them knew in common. Lou reminded me of the melodic David Berkeley, a musician I had seen in 2004 accompany Howie Day and Nickel Creek at the haunted auditorium of Michigan State University (we used to call it “The Aud”). I enjoyed Imaad’s low neck strumming. The higher pitched notes added more dimension to their all-around performance. Here they are tuning their guitars.

11PM: Say Hi is one of those raw bands that embrace the minor flaws rather than attempting to eliminate them. You can hear all the hiccups and hums and fuzzy background noises in their album tracks. Oohs & Aahs is their first Barsuk release in connection to their shortened name, as they used to be referred to as Say Hi to Your Mom. It was released in LP format as well as CD because Barsuk likes to do that.

12AM: Kelly Crisp of The Rosebuds had the best dress I saw all weekend. It was a white, knee-high, strapless bell-dress with a pink sash embedded from top to bottom. The black combat boots added a nice touch. The bass and drummer were both stand-ins from other bands because The Rosebuds only officially consist of Kelly and Ivan Howard.

They applied a lot of sing-along numbers in an effort to extract some energy from the sleep deprived crowd. My favorite song is “Leaves Do Fall.” You’ve been gone too long/ where can you be/ they said three months/ you’d come for me/ I’ve shouted, “where?”/ out at the sea/ cuz you’re my love, my family. I think these lyrics explain how one may know that his or her love is not coming back but still the struggle of wanting to know why lingers.

1AM: Now for the big finish! Ra Ra Riot claimed the stage with their arms up begging for a warm welcome. I got excited when I saw Alexandra with her cello. This weekend I had seen more strings taking part in indie-rock outfits than I would have ever imagined. As frontrunners to Ra Ra Riot, however, Alexandra Lawn and Rebecca Zeller were most impressive, in my opinion. Zeller had already rocked her violin hard enough by the third song that she needed a new bow. It was sick! And I mean that in a good way.

Star struck by Zeller and Lawn’s exceptional playing made it hard to concentrate on anyone else. However, I happen to know that each player compliments the others nicely. For instance, thanks to the considerately refined playing of Milo Bonacci, the guitar doesn’t overpower the strings. Lead singer, Wes Miles, mentioned that he had a little bit of the SXSW ailment, that is, lost voice. I didn’t notice and that is probably because he wasn’t nursing it. He said that he was going to leave it all with us. They performed every song on their album, The Rhumb Line, and also included a newly carved piece. I had forgotten how much I love every song on this album, or maybe I didn’t realize I loved it that much until I saw them live. As the saying goes, sometimes seeing is believing.

On Tuesday, March 10th KUHF, the public news and arts NPR affiliated station of the University of Houston, welcomed folk singer/songwriter and native Texan, Kimberly M’Carver. I had a generous invitation to view the live broadcast of the featuring program, The Front Row. After her on-air performance I decided to attend the follow-up show at her usual venue, Anderson Fair, in Montrose. I convinced my sister to join me which is no easy task and it didn’t ensue without her informing me that she agreed because she had nothing better to do. “Shady” is the word she uses to describe the places I drag her to, but she always ends up enjoying herself. I would have to agree that Anderson Fair was old and looked a little shabby, but it wasn’t dilapidated or neglected in any way. In fact, I usually find places like that to be eclectic (my apologies for throwing in a worn-out adjective) with a history to be shared by the proud and long-time regulars. It had an attic and a living room. The living room contained a book case where one could take a book and leave one in its place. Lindsey pulled the 1988 consumer report and thumbed through finding 4 different kinds of baby diapers. It seems like there would be so many more brands in today’s reports. New Balance was then and probably still is the leading athletic shoe. A little sign hung above that read “Lending Library.” The room was painted with posters of past festivals and musicians, such as Joan Baez. We spoke to Ms. M’Carver’s guitarist, Wayne Wilerson, and were told that the place has been around since 1968 and that it is the longest standing live music venue in the state of Texas. It was about to fold twenty years ago but the locals decided to save it and turn it into a non-profit. So, now it opens Thursday to Saturday only at night with grandma in her rocking chair collecting at the door. The cover was $ 10.

After touring the place we sat down front and center as they played a song called “When I Hear Trains.” The lyrics allude to her speculating as she watches people boarding and sings, “I wonder whose leaving and who’s left behind.” It was a five piece band which I didn’t expect considering it was simply her and her guitarist and backing vocalist, Eric Corb, present for the radio segment. The stage was small, almost too small for the five of them. Hanging over the black curtain drapery behind the drummer was a Texas flag. There were a few strings of star-shaped Christmas lights thrown around the unfinished ceiling planks like T P’d toilet paper. She has been playing at this venue since 1994 and now comes back about twice a year.

Next they performed “Squeeze Inn,” a song I was privileged to hear previously at the broadcast. She told me that the Squeeze Inn was a place in downtown Dallas where her parents used to go dancing on the weekends. She remembers it as a “laid back place with beer, BBQ, and kids running around.” Corb took a guitar solo during this number and there was plenty more where that came from for the rest of the show. The drummer sat quietly minding his own business, as drummers do, and for the most part played with brushes which means he was probably using a wooden snare. When he used sticks it was usually for a song with a constant cymbal strike or a tap on the edge of the drum.

They played “This Cold Night” off her second album, Inherited Road. It was fitting to the actual night as we ran in from the cold and the rain when we arrived. She kept saying that she was sick from the weather and that her voice was cutting in and out but I loved her voice and told her that I couldn’t imagine it sounding any better. She actually grew up listening to pop and rock. She likes Fleetwood Mac and James Taylor and expressed her desire to see James Taylor in concert. In her early to mid-twenties was when she started listening to artists like Guy Clark, Emmylou Harris, and Dwight Yoakum. People have told her that she sounds like Emmylou and Dolly Parton. Now she likes listening to alternative and rock. She likes The White Stripes and specifically Jack White. I told her that I was surprised because, listening to her original music, I couldn’t imagine her enjoying other styles. She replied by saying, “Well, you do what you do best.”

They played a new song called “Redemption.” Corb was bending with the foot peddle making it sound as though there was a steel guitar in the mix. “Road Inherited” was a story about her grandfather and began with a sweet little humming intro. “Death and Texas” off of her latest album, Cross the Danger Line, presented us with an upbeat jam again starring Eric and his blue Verbier guitar. She wanted to name her album after the song title but had second thoughts and decided to go with the formerly mentioned. She played another new song called “It Never Gets Easy” so I made a point to ask if she had a new album in the works. She has recorded all three of her albums in Nashville and thinks there might be a return trip for a fresh album; however, there are no stone set plans.

She did a little introduction of her band after “It Never Gets Easy.” We’ve already met her guitar players Eric Corb and Wayne Wilkerson and, seeing as I missed her mention the drummer, the only new person to point out is her bass player, Richard Dickie. She has been a songwriter since 1988 and I don’t know if these are the guys who have accompanied her all the way. She did say that she has collaborated with Jim Lauderdale, an American songwriter who has composed for other artists, one being Ms. M’Carver’s influential, Dwight Yoakum. He has played on her albums and she hopes to join forces with him again.

They announced that Eric had too much of a “Houston weather voice” to do his solo and he thanked us for being sad about it when we all awed. We stuck around for a few more, one a fun little acoustic upstroke, but when Lindsey got restless and started nudging me I could tell that it was time to go. Kimberly must have played almost 30 songs, which is what I like about small unreputable shows. Even if you see a show at the local hot spots like the House of Blues or the Meridian you’re lucky to get twenty songs out of it. Sometimes it will be because the artist or group only has one album and they will play their 10 to 12 tracks and use a lot more banter as filler. That’s not always the case though as it happens at really big shows that people pay a lot of money to go see. For instance, Tom Petty played 16 songs at his performance at The Woodlands Pavilion last year. So, while she was still playing we scooted out saying goodbye to all the nice folks who ran the place and grandma who made sure to invite us back.

below please find the song titles to part but not all of the setlist

1. When I Hear Trains
2. Squeeze Inn
3. Whistle Down the Wind
4. Show Me the Stars
5. This Cold Night
6. Redemption
7. Road Inherited
8. Death and Texas
9. Santa Fe
10. It Never Gets Easy

Last week I posted a song and a picture along with a heads up that a Lenka concert review would be coming soon. Well, today I have to disclose the bad news. I missed Lenka. I could not, for the life of me, locate the charger to the GPS that my dad so thoughtfully gave me for Christmas so I decided that I had been to the House of Blues enough times and that I could find it on my own. Therefore, rather than going back for a Google map, I simply headed toward downtown. I should have known not to take that risk.

All I could do once I was lost was drive around until I saw the neon blue sign and make that wide right hand turn when, out of the corner of my eye, I noticed that I was about to pass it. By the time I got there I suspected that she had probably already finished. When I arrived I had to purchase my ticket and I stood behind a guy talking about The Ting Tings concert that was held there a few months ago. I wanted to say, “Hey man, I was at that show” but I really didn’t need to butt in.

I asked the girl at the entrance beer tub if I did, in fact, miss Lenka’s performance and she replied with a, “Well, if that’s who that was then yes.” I found myself smirking because, not only did she give me a funny answer, but she also said it in a tone that reminded me of Linda from the show Becker. In case you’re not familiar, Linda played Ted Danson’s air-headed nurses aid.

So, I shopped the merchandise for a while as they played The Beatles “The News” and “Sgt. Pepper’s Lonely Hearts Club Band” between sets. Justin Nozuka appeared in a simple white wife-beater and began with “Down in a Cold Dirty Well” from his debut album, Holly. While listening to this song I figured he may have been influenced by Bill Wither’s as it reminded me of Bill’s “Ain’t No Sunshine.” I kid you not, two songs later he was doing an “Ain’t No Sunshine” cover. I freakin’ hear this song covered way too much! It is kind of fun to hear it done in different ways though. There is a description I like to use from time to time that I call ‘vocal gymnastics’ and it definitely applies to Justin and the way he works his nice falsetto into his rapid and numerous changing of intervals.

The energy was there, not just from Justin but from Missy Higgins as well. It was the first night of their tour together and I presume that is why it was so great. “Golden Train” introduced the keyboard and Mark Pellizzer, Justin’s band mate. Acknowledgment for the bass goes to Anthony Lavdanski and the Drums to Alex Tanas. Anthony and Alex also supply backing vocals. The guys have been together for two years.

They played a song called “Be Back Soon” and, unfamiliar as I was to the album, I initially heard another cover. Beginning merely with Justin’s acoustic guitar the first three chords were that of Deep Purple’s “Smoke on the Water.” From my guitar attempting days I remember those in Tablature as open-3-6 on the A and D strings. You can poke fun if you want to but beginners have to start somewhere.

He played his single, “After Tonight,” a song that tells the simple story of a man asking his girlfriend to come away with him promising that, if she does, she will no longer have to dream of heaven. Next, he introduced his song “Save Him” as a song written from the perspective of two men living in an apartment building and witnessing an abusive and fatal relationship going on close by. I usually shy away from this issue because I feel that several cases include an element of attention-begging by those who cry wolf, so to speak. Therefore, I was nervous when the song started but, after hearing it in its entirety, I can assure you that this song depicts the real thing. Both parties struggle and both parties destruct. At the end of the long haul she dies and he dies; the victim and the abuser; a homicide and a suicide. The song was performed by Justin and Mark, his guitarist, with so much passion that I have to wonder if the two of them were the witnesses. Their shared hand shake following the song only made my assumption stronger.

He soloed on a song called “Oh Momma” in which he asks his mom to hold him closer and tells her how much he loves her and how he couldn’t live without her. What a mamma’s boy! Lastly, they played “Criminal” and with a little wave and a “have a good night” that was it.

1. Down in a Cold Dirty Well
2. Don’t Listen To a Word You’ve Heard
3. Golden Train
4. Ain’t No Sunshine (Bill Wither’s cover)
5. Be Back Soon
6. Mr. Therapy Man
7. Supposed To Grow Old
8. After Tonight
9. I’m In Peace
10. Save Him
11. Oh Momma
12. Criminal

With the next intermission came the return of The Beatles songs. During the assembly of Missy’s equipment we heard the following:

All You Need Is Love
Hey Jude
Revolution
Strawberry Fields

Listening to all these songs triggered the thought that I may never get my DVD of “Across the Universe” back. The 1960’s story built around The Beatles tunes and very creatively directed by Julie Taymor. I lent it to a friend months ago and you know how that goes.

Then they switched to the Rolling Stones:

You Can’t Always Get What You Want
(I Can’t Get No) Satisfaction
Sympathy for the Devil

The Australian singer-songwriter, in her high-wasted pencil skirt and cap-sleeved blouse, at last materialized and began with “Don’t Ever” from her debut album, The Sound of White, from 2004. Unaided by her band mates, she incorporated a little whistling to accompany her voice and her guitar. Then she transitioned to the piano for a nice hand over hand execution of “All for Believing.”

Unlike Justin, she wasn’t shy about addressing the crowd. She had fun saying how much she was enjoying “Heee-you-ston” as she had the pleasure of spending a few days in town prior to the tour kick-off. They had been to The Menil Collection, an art gallery in the Montrose area, earlier that day and their cab driver was not the first to ask them what kind of music they played. So, they came up with the definitive answer of ‘coffee house.’

During her song “Angela” she played a melodica. The melodica is a fascinating instrument, strangely reminiscent of a harmonica, but comprised of a hand held keyboard and a mouthpiece. Blowing into the mouthpiece produces the sound facilitated by the keys that are plucked. She returned to the piano for “Warm Whispers” and got so entrenched in her own performance that she was standing out of her piano stool. She presented the next two songs solely, the later of which was “Forgive Me.” Her forerunning explanation of this song was that she wrote it like an apology letter by an unfaithful man to his family. She is often captivated by the possibility of probing into other individual’s ‘mind-stances’ and, with this one, she attempted to be the man who was truly sorry.

“Secret” had a bit of a funk-folk sound to it and was implemented with a little Steel guitar. As if we needed more instrumental variety, the banjo launched the next song, “Going North.” I haven’t mentioned her sophomore album so I would like to inform you now that this song is off of her second studio album, On a Clear Night, released in 2007.

She did a cover of a Patty Griffith song called “Moses.” It’s a song that she has loved ever since she was a little girl and she wanted to perform a “coffee house rocked up” version of it for us. Missy is distinct from her peers in that her accent is apparent when she sings. With this song she especially pronounced “Roses” and “Moses” the way an Aussie would. With an R-sound rounding out the O’s, if you know what I mean.

Nearing the end of her set she felt it was necessary to include a little crowd interaction with her song “Peachy.” She politely asked for a little clap along and joked that “everyone loves audience participation, right?” With that statement, she and her band began the clap. Her band consists of Ben on guitar, David on bass, and Felix on drums. I didn’t catch their last names. She ended with one of her more well-known singles, “Steer,” a song about discovering the freedom inside of you.

Before I forget, I wanted to make a point to mention that Missy is an adorable and charming young lady. I met another frequent concert-goer while at the show that caught me taking notes and was concerned. He said that he had seen Justin Nozuka before without an electric guitarist and he thought that the rawness of it was much better. That’s what started our conversation. I told Mr. so and so not to worry because I rarely say bad things. I knew I wasn’t going to be able to recall his name. I want to say David? Oh well. Whoever you are, you have my website. Feel free to make comments. I’m sure you’re happy to find that my stories are really just surveillances of the evening’s episodes rather than critiques.

1. Don’t Ever
2. All for Believing
3. Wrong Girl
4. Angela
5. Ten Days
6. 100 Round the Bends
7. Warm Whispers
8. Nightminds
9. Forgive Me
10. Secret
11. Going North
12. Moses (Patty Griffith cover)
13. Peachy
14. This Is How It Goes
15. Where I Stood
16. Steer

Last Thursday was another night spent at Warehouse Live. This night, however, began with an unfamiliar and unpredicted moment of line-waiting. Not to mention, I had just used the last minute or two bragging to friends and telling them not to worry because Warehouse never has a line. I hate lines. The line is what keeps me out of trendy midtown bars and clubs. That is, until the wee morning hours when the line begins to dwindle. I was relieved when reaching my ticket counter destination didn’t take as long as I anticipated. So, what is it about Brett Dennen that draws a crowd? Well, I was about to find out.

Once inside, I had to slither my way through the multitude of attendees to get close enough to take a few pictures with my inadequate camera. I know what you’re thinking, but haven’t you ever heard the saying ‘if you can’t beat ‘em, join ‘em’? It’s really a terrible excuse but in this case I use it to justify my impolite behavior. I can either complain about the people who squeeze their way to the stage or I can do it right along with them. At least I had enough courtesy not to plant myself in front of a short person. Some people do that! You know who you are.

Anyway, the wavy-haired starlet, Erin McCarley, had already begun her set prior to my tardy arrival. My guess is that she opened with her single, “Pony (It’s Ok)” because I didn’t hear it and I don’t think she would leave it out. She wore skin tight leggings and a long cardigan. The first full song I heard was “Lovesick Mistake.” She put down her guitar and started it slow. Eventually the song picks up but is all-in-all a sweet, soft number. The brooding message in this song is that she’s moving to fast and has thrown away what she should have held on to. Consequently, she missed her chance at love.

She did a cover of “Tom’s Diner” originally by Suzanna Vega. Vega’s version is written as an a cappella which fueled some creativity in McCarley and her band, resulting in a dressed up adaptation. McCarley initiated it with the recognizable ad-libbed “Doo doo doo doo, doo da-doo doo” but at the start of the hook, a beat-boxing keyboard player took me by surprise. The drums entered in at the second verse. She introduced the song by saying, “I didn’t write this…kinda wish I did.”

Her drummer and keyboard player were both very attractive yet ordinary looking. With their clean cut haircuts and classy clothing they did not look like your typical musician. She played her debut title track, “Love, Save the Empty.” As I mentioned in a previous post, this is the track you hear on the trailer to the soon to be released film, He’s Just Not That into You. By the way, this movie, in my opinion, has just as distinguished an array of cast members as the 2004 film Crash.

1. Pitter-Pat
2. Lovesick Mistake
3. Tom’s Diner (Suzanna Vega cover)
4. Hello/ Goodbye
5. Love, Save the Empty
6. Gotta Figure This Out

As the slow display of between performance pack-up and set-up took place, I couldn’t help but overhear a conversation by some kids about the recent concerts they’d been to. They brought up Iron and Wine and I envied them for their opportunity to see Samuel Beam, the man behind the recording name. I have not yet had the pleasure.

Ron Johnson, the Rastafarian bass player emerged first to scatter some incense around the stage and then lit them to set the mood. It went well with the whole art-deco rug and Ethiopian color themed display emitted from the stage. I’ve never noticed the rugs before. Are they always there? When Brett appeared from behind the curtain I was shocked by his size. He played the whole show in bare feet (I think as a tribute to his vidoe for “Make You Crazy” which you will see at the bottom of this post) and he still looked 6 ½ feet tall.

They played one of my favorites right off the bat. It’s a song called “Wrong About Me.” The noun ‘turncoat’ was not part of my vocabulary until I researched the lyrics of this song. He speaks of leaving the only life he knows behind in order to establish himself, and when he talks about selling out he uses the term ‘turncoat,’ which means traitor. Further lyrics tell us that the tradeoff to being called a turncoat is not working for free. So, basically, he couldn’t care less if we scold him for selling out. He’ll take the money along with the name-calling. Personally, I think it’s silly when fans throw a hissy about artists selling out. As long as the group or individual actually has talent why does it matter? It does mean more expensive ticket prices for us but, rather than objecting, we should be happy for their success.

When they performed “Closer to You” I was trying to get a picture of Ron but he hardly ever faces the crowd when he plays. The guy sure wasn’t camera shy though. Between songs we had several opportunities to capture his intentional poses. A girl in front of me was taking videos of Brett and Ron protested, “…not enough pictures of me, come on, you all have your cameras!” I’ve been in Texas long enough that hearing someone say, “you all” instead of “ya’ll” sounds funny to me.

The drummer’s name is Randy Schwartz. The cymbals on his drum set had been filed down to include a few crescent moon-shaped indentations. I was waiting for the significance of the malformed instruments but, from what I could tell, they weren’t used for anything out of the ordinary. For all I know it could be the result of a rowdy spark of vandalism or damage caused from transporting equipment while on the road.

A lot of the lead guitar spotlight moments were pretty bluesy and Ryan, the guitarist, finally showed off some of his capability in the song, “When You Feel It.” During this song John, the keyboard player, stood and offered a little electric/acoustic guitar.

When they played “She’s Mine” the response it got made it seem like a crowd pleaser, which makes sense as it was a single from his second album, So Much More. Brett’s articulations of his words sometimes make me think that he has overcome a childhood lisp which has the power to sneak out occasionally, and did on some annunciations during this song. After “She’s Mine” Ron looked at me and at my red hair and said, “Are you related to Brett?” Yes, Brett and I are both part of the rare redhead clan and that makes us kin.

During “Ain’t No Reason” I was trying to decipher where the airy whistle sound was coming from. I think John may have been playing some kind of wood, maybe similar to a recorder. Remember playing the recorder in elementary school? We didn’t even have wood. We had the cheap plastic kind that the school could afford to buy wholesale. And what was our final exam? You guessed it… “Mary Had a Little Lamb.”

John also played a maraca during “Make You Crazy” and they ended that song with a jam session.

The last song before the encore was “Blessed” and, with the keyboard solo, the in-unison crowd clap began. Brett hadn’t said a word to the crowd until the end of the set when he said, “I feel like I haven’t said anything to ya’ all night, how are ya’?” They did four encore songs and the first two were solo of Brett. The second solo, “When She’s Gone” is recorded with Missy Higgins adding harmony. She was on tour with him early in 2008 but is now doing a tour with Justin Nozuka and Lenka and is scheduled to hit the Houston House of Blues on February 19, 2009. Missy is also featured on Brett’s “Follow Your Heart.”

The full band came back for a song called “Heaven.” His most recent album is called Hope for the Hopeless. At first, I didn’t know where they came up with the title because it’s not named after one of the songs on the album. With that being said, it can be found in “Heaven” as part of the phrase, ‘Is there a home for the homeless/ Is there hope for the hopeless?’

It was during “Heaven” that I smelled the reefer. Really?! Indoors?! I’m used to it at the Woo Pav (The Woodlands Pavilion) amphitheatre where concerts are held outside, but not in a confined indoor sector of Warehouse Live. As if we needed more cliché, Ben Harper’s “Walk Away” played as we shuffled out the doors. If they had played Harper’s “Burn One Down” it would have been too much for me to handle.

1. Darlin’ Do Not Fear
2. Wrong About Me
3. Closer To You
4. Follow Your Heart
5. When You Feel It
6. Who Do You Think You Are?
7. She’s Mine
8. Desert Sunrise
9. Ain’t No Reason
10. Make You Crazy
11. Blessed

Encore

1. Nothin’ Lasts Forever (BD solo)
2. When She’s Gone (BD solo)
3. Heaven
4. World Keeps Turning

This is the official video for “Make You Crazy” off the October 28, 2008 released album Hope for the Hopeless. That’s Mandy Moore trying on shoes.

I worked for 13 ½ hours on Saturday. Around 11:30pm I pleaded with one of my managers to set me free. I explained that I had been at work all day, but more importantly that I had a concert to get to. A friend of mine was playing at a place called the Milan Pavilion. Caleb is the lead singer of a band called Magnetic. Ladies, if you’re a sucker for long beautifully maintained dreadlocks you might just melt if you saw my buddy Caleb.

The whole event of poetry, art, and music took place from 6pm to 2am and when I arrived with my friend and co-worker, Cesar, we perused the area admiring some art that was on display.

By the way, Cesar and I managed to dodge the cover charge. We must have looked lost but nobody bothered to point us in the right direction. We made our way through the back door while $10 was being collected at the front entrance. We only realized it once we were safely inside. That’s not the first time I’ve ducked the cover folks. I’m kind of notorious though I don’t try to be.

I trailed timidly behind Cesar as he made his way to the bar. I was a little apprehensive. I like a good dive as much as the next person but this place was just a bit sketchy for my taste. The red carpet and the odly and randomly placed outdoor-wedding-alter-type interior archways made me feel like I just walked into some kind of fun house. Or better yet, like I was entering the set of a horror film and at any moment the scary clowns were going to close in on me. Furthermore, when I glanced at the mounted television what I saw was an old Godzilla trailer. It was a step down from the House of Blues which was the last venue I saw them play.

It is evident that the group embodies a fusion of each members musical background. Caleb was raised on gospel but now plays the frontman with the soulful pipes. It’s not a surprising progression for him as soul originated from gospel, right? A more bluesy form of it anyway. The size and arrangement of Mike’s drums led me to believe that he was trained strictly as a jazz drummer, but Caleb informed me that he plays everything. Wu is the lead guitarist who, naturally, contributes harmonizing vocals as well. Throughout the set there were several moments when I found myself fixated on Rob Rrias and his bass playing. I have always been fascinated by the bass. It started years back when I saw Nickel Creek in concert and they had a stand in acoustic bass player. It was difficult to listen beyond the genius mandolin playing of Chris Thile to explore other components, but I did and I discovered that the bass was a very integral part of the whole. It was easy to listen to the bass guitar after I had come to that conclusion. Magnetic is one of those bands that allows you to focus on each part and clearly see how it fits in and what it brings to the overall soul, funk, and blues sound. I always say that my eyes can hear too. I say this because it seems as though you can hear one specific instrument so much better when you look at the person playing it.

They did a cover of Bill Wither’s “Aint No Sunshine” and Wu and Caleb alternated the 26 consecutive ‘I Know’s’ in the song. No, I never counted. My dad told me when I was little. The song came on the radio and our conversation went something like this, “Jen, guess how many times they say ‘I know’ in this song?” “I don’t know dad how many?” “26.” Now, whenever I hear the song I find myself asking whoever I am with if they know how many and, in most cases, when they don’t I will inform them.

It was during this song when I noticed that Wu looked like my boss Chad. Cesar laughed in agreement when I mentioned it.

I’m beginning to learn the songs as I’ve seen them perform three times now. If they had an EP, or even a demo, I would have them down for sure. Get on it guys! Oh, I’m just messing with you.

Most of the songs are really catchy. As Cesar said, “I want to sing along but I don’t know the words.” I’ve really come to like the song “Inevitable” which was played towards the end of their set. It has a nice guitar solo. Wu is like the sax player of a jazz band. You don’t need him for the beat but when he’s doing his thing all eyes are on him. I guess that goes for any lead guitar.

There is one song that stuck out for me the first time I heard them play. The song is called “How Long” and Caleb has pulled it from every other show I’ve seen. The song is calm and steady in its repetition until the little wrap-up jam session at the very end. The well written lyrics tell me that the song is about forgetting our insecurities. We must recognize what we have to offer and must, furthermore, expose those qualities from within us. If you follow the link above to the band’s myspace page you can listen to this song and others. Sorry I don’t have any embeddable audio for you.

I had to pick myself up off the floor after falling when my sister agreed to go to a concert with me. I can’t remember the last concert she went to. She can probably count them on one hand. So, while the night was routine for me, it was a much bigger deal for her. To clarify, when I say ‘a bigger deal,’ I am not referring to how stoked we were to see the band. We were equally excited about that. I’m referring to the planning that goes into an evening like this. She wondered if we should have bought the tickets ahead of time. She emailed from work with questions like, “Will there be available parking?” and “How early should we get there?” She was baffled by the fact that a band like Thriving Ivory, who has a billboard chart topper single and held roughly a month long slot on VH1’s JumpStart, couldn’t fill a small room with tickets going for $ 13 at the door. Or that we could get there right as the opening band was about to go on, purchase our vouchers, and still have time for a bathroom pit stop before missing anything. I can’t believe it either but I expect it because these are the kind of shows I go to. It’s surreal when a group whose video you saw on television everyday for a month is standing not even a foot from you. They sell their own merchandise and they stay after to mingle with their crowd. They’re not a big deal yet but they’re on their way. You can’t ignore the rising stars on VH1’s “You Oughta Know.”

Without further ado, let me introduce you to the first opening band, Evangeline. As soon as they started playing their first song, “Rain,” from their debut album We’re Alright Down Here, I leaned into Lindsey to say that they sounded straight up Southern/Christian rock. I thought that they sounded a lot like Jars of Clay and Jonathan Barrick as the lead singer sounded especially like Dan Haseltine who leads Jars of Clay. The Jars song “Lesser Things” flashed through my head and the lyrics, ‘Is there grace for a wayward heart?’ It brought me back to my sophomore year at Michigan State University. I used to listen to a lot of Christian rock bands. I go way back to the bootlegs with some Contemporary Christian material, for instance, Switchfoot and Third Day.

Evangeline did a song called “Mississippi Line” and I initially thought it was about someone who’s ready to die. Someone who has lived a good long life and it’s time. However, I think the song might actually be about starting over. Either way, it was a pretty song. The last song was called “Arizona” and Barrick introduced it as ‘a song about letting it go. Like rolling down your windows and letting the air blow through your hair.’ Come to find that he had made small talk out of his own lyrics because those are, in fact, the words to the song. Below please find their video for “We’re Alright Down Here.” It was shot in Houston, Texas on Main Street downtown. Those from Houston will recognize McElroy’s Irish Pub, the Greyhound station, and the bus heading to Fannin St.

We’re Alright Down Here

1. Rain
2. Wait For Morning
3. Mississippi Line
4. Evangeline
5. All I Am
6. Arizona

Next up were the Warehouse regulars, the 71’s. This four piece local rock band took the stage with a number called “Stretch Out Your Life.” My initial, cynical, judgmental impression was that the lead musician was full of himself. By the time they were half way through their second song I had already completely changed my mind, thus the reason for criticizing my own impulsive notion. The quick double handed finger brush through his hair may have caused my preliminary reaction but I’m not giving myself any excuses. The fact is Keeton was a nice guy. Who cares what I have to say about it anyway.

They did a cover of “Interstate Love Song” by Stone Temple Pilots and I noticed that he had a nice voice so I started to pay closer attention. Carefully listening to make out the words to their original songs I began to wonder if they were a Christian band as well. After all, if I have it right, a few lyrics to the song “Blue Room” are as follows: his light is waiting to bring life to your heart/ destiny waits for you/ you gotta choose to fly or wait in this blue room to die. The song that I decided was my favorite came toward the end of their set and was called “Awakening.” In addition to the track title alone, again this song contained several spiritual connotations: in your love I have found the makings of a happy end/ your love is my life/ your bread your wine/ I cannot live without it.

Lindsey and I spoke with Keeton after the show because I am the annoying fan who wants a piece of merchandise after the display has been securely packed away. He confirmed that he had been part of a Christian band prior to the birth of The 71’s.

Throughout this site you will occasionally find me interrupting my musical commentary to make remarks on a band’s attire, or that of an individual member within the band. This happens to be one of those occasions because the lead guitarist, who they referred to as Cecil, was wearing an appealing combination. He had on a black button up, sleeves rolled to the elbow, layered with a grey vest and a bright red tie tucked into the vest. Lindsey noticed as well and stated her approval accordingly. Let me quickly recognize the other two members of the group before moving on. Jacob was the bass player and “Tank” was the drummer. The two are brothers and the group calls them the ‘Sons of Trouble.’

1. Stretch Out Your Life
2. Count
3. Interstate Love Song (STP cover)
4. Blue Room
5. Tomorrow Belongs to You
6. Awakening
7. Louder

I was trying to predict what song Thriving Ivory was going to start with. I went over different possibilities in my head and talked them through with Lindsey. Maybe they would start with their second single, “Hey Lady” so that they could save the VH1 hit for the encore. Maybe they would play a cover for the encore and include both publically exposed songs within the set. I was totally wrong. They started with “For Heaven’s Sake” which is the ninth track to their self-titled album. It’s a beautiful song about not allowing yourself to breakdown when things aren’t looking up for you. To avoid dwelling on what isn’t fair and to let it go so that you can move on.

Clayton Stroope has a very distinctive voice. I might describe it as a pinched, high-ranged, Geddy Lee-ish whine but without the earsplitting shrieks. It’s wonderful. For some it may take getting used to. And while you’re deciding weather to like his voice or not, listen to the amazing lyrics. Next they sang “Twilight.” “Twilight” was my first favorite. In other words, when I started listening to the album this was the first song that I fell in love with. Since then I have had other favorites and have pretty much fallen in love with the whole album. I can’t stop playing it. Today I took the CD from my car into my office to listen at work.

Scott Jason is remarkable on the keyboards and the intro to “Hey Lady” found me concentrated on his rapid but graceful presentation. With the conclusion of “Hey Lady” Clayton encouraged everyone to go out for ‘high fives and hugs’ seeing as he didn’t have anything to do after the show. Following this invitation they played a song that is not featured on their album called “Father’s For A Ghost.” They followed that up with the final track to their debut entitled “Day of Rain.” Drew stepped out to showcase some of his guitar playing and Clayton dialed back to give him the floor.

I guess I’ll insert my little wardrobe observation here. Drew was dressed very European. He had on layered shirts and a scarf and kind of reminded me of the way the UK band the Kooks would dress. Scott and Bret, the base player, stood next to each other both wearing beanies.

The beanie brothers and their other half rocked out a short rendition of “Let It Be” and I gasped as I turned to wait for Lindsey’s response. They, of course, ended with “Angels On The Moon” of which my favorite line says, ‘do you know, that everyday is the first of the rest of your life.’ I was sure they would do an encore and it looked like they were deliberating until Pink Floyd’s “Us And Them” played them off the stage. Weird. I guess the house crew wanted to split, after all it was a Monday night. I would have liked to hear the ballad, “Overrated,” but luckily I realized that shouting ‘overrated’ would yield a wrong impression.

1. For Heaven’s Sake
2. Twilight
3. Secret Life
4. Alien
5. Long Hallway With A Broken Light
6. Hey Lady
7. Light Up Mississippi
8. Father’s For A Ghost
9. Day Of Rain
10. Let It Be (Beatles cover)
11. Angel’s On The Moon

Here is a live version of “For Heaven’s Sake.”

If Clayton looks familiar to you it may be because you have seen him as the subject of Lee Ann Womack’s “Last Call” video.

Toyota Center- Houston, Texas- Tuesday, November 18, 2008

According to The Daily Cougar (The Official University Newspaper of the University of Houston) journalist, Cassandra Malork, “A Coldplay concert is always a memorable one because excellence is expected.” Last night was my first live Coldplay experience but it is safe to say that I can agree with Ms. Malork.

After Aimee, my partner in crime, and I purchased our tour T of choice (In Aimee’s case, a sweatshirt that said ‘COLDPLAY’ across the ass) we climbed to the ‘cheap seat’ section. Nose bleeds or a lawn seat is all the money I ever throw down. In all honesty the seats were pretty good. We sat directly to the side of the stage which was cool as the show opened because we saw the band jamming to “Life In Technicolor” before they lifted the curtain for the crowd to react. Chris Martin was, of course, wearing the new distinctive tour jacket, the one specifically made for the ‘2008 Viva La Vida Tour,’ also the one we saw him in on the cover of SPIN magazine when the album came out.

Starting with an extended instrumental is awesome as it is and the fact that “Life In Technicolor” is the first song on the new album made it even more dramatic. It’s like you just popped in the CD, but no you are listening live!! Ok sorry, I’ll get on with it. The segue into “Violet Hill” was not surprisingly followed by a burst of applause as the rest of the crowd was exposed to what we saw behind the curtain. Next was “Clocks” which had the lights down for every piano segment. The green lasers were funny. You’re not really affected the same way by the lighting when you’re above the lights. I knew we would miss some of the visuals anyway considering we were to the side and couldn’t see what was behind the band. There was, however, several suspended screens and excellent live filming going on which I hope will be released on some kind of DVD. Aimee kept filming the film (lol…sounds redundant) with her camera so I will post live videos once I steal them from her.

“Speed of Sound” played through entirely with the lights down. At this point it was time for some kind of acknowledgement to the crown so Martin said, “Let’s turn some lights on here man, can’t come to Houston, Texas without turning on the lights and sayin’ thank you for having us.” “Speed of Sound” was followed by several Viva songs, including one of my favorites, “42.” Viva is different than the rest. Less lyrics and more sound. They use strings and percussion. It’s really beautiful. A Rush of Blood to the Head has always been my favorite but Viva La Vida or Death and All His Friends may be sneaking up to the number one slot in my mind.

If you listen to the lyrics on Viva you hear the usual life, love, and politics in the familiar Coldplay sound, however, in this album, as the title suggests, there is also death. It’s sad. The song “42” says, ‘Those who are dead are not dead/ They’re just living in my head.’ Just the name of the second track, “Cemetaries Of London,” alludes to death. They also get religious with this forth album. “Viva La Vida,” says, ‘I know St. Peter won’t call my name.’ We were supposed to hear less self-consumed stories in this album but I think “Viva La Vida” is completely personal. I gather that he is reflecting on quick fame and the fact that once it’s there it’s there forever. He will always be famous and now he wants to search beyond fame to see what is next for him. What happens after life and after the love that he has been lucky to secure? He is unsure of what will come or if he is on the path to where he thinks he wants to be when the next thing comes. He does all this via biblical references, which gives it a kind of double meaning. Those who take the time to meditate on the lyrics will find the personal message because it lives under the simple lyrics. Let’s hear your thoughts?

On “God Put a Smile Upon Your Face” I noticed that Jonny’s guitar had the black and red V[I]VA logo painted on it. Next, Martin started a solo of “The Hardest Part” and then looked in the crowd and found a young kid and said to him/her, “Well, how old are you? About four?” He then mentioned something about appreciating the diversity of the crowd which, if you have read the Houston Chronicle aftermath of the concert, writer Brandon Hernsberger makes a good point regarding this comment. He says that Martin misinterprets age difference as diversity and that the crowd last night was the least diverse he has seen. I said it was a good observation, I didn’t say I gave a shit. I couldn’t care less if the crowd is diverse. Plus the next comment Hernsberger makes is ridiculous and I don’t agree with it at all. He says, “Coldplay appeals only to a certain group of people – those who are privileged enough to not have to make personal connections to art to help them define their position in the world…” Why would Coldplay only apply to those people? Don’t bother to read the article if you haven’t already. It would make any star struck person who, after last night, is momentarily in love with Chris Martin and jealous of Gwenith a little bit defensive and mad at Mr. Hernsberger.

On “Viva La Vida” we all joined in to the Whoa Oooh Ooooh Oooh Ooooh…of course. Then the music cut so that Martin could sing the Whoaaa with a purposely bad vocal so that we could all laugh at him and love him even more because now we think that he is also funny. Then he proceeded to lay on the stage to bask in his fame for a minute because he still enjoys that even though we know now that he is, you know, searching for what comes next.

They climbed half way up the arena to met the guitars that were there waiting for them and sang “The Scientist.” Martin mentioned that we were the strongest bunch of tacklers that they have had as they do the climb every show. And that it posed a problem because he and his band mates aren’t the strongest of guys. Then he had to mention something about good looks compensating for the lack of strength. It was just one of those friendly banters that you know he says to every crowd. Martin played the harmonica. Then they did “Death Will Never Conquer” and Will, the drummer, sang.

A techno mixed version of “Viva La Vida” played while they made their way back to the main stage to play “Politik.” When the encore came they did the predicted “Yellow” and left the stage with a simple “Bye!” from Martin. Lastly, when track ten on Viva doesn’t end and if you wait a minute you find that it starts up again just like “Reign of Love” and “Chinese Sleep Chant;” that song is called “The Escapist.” That song was played for the exitlude. All in all, it was a great show. An experience I will one day tell my children about. Stay tuned for Aimee’s live footage…

Setlist:

1. Life In Technicolor
2. Violet Hill
3. Clocks
4. In My Place
5. Speed Of Sound
6. Cemeteries Of London
7. Chinese Sleep Chant
8. 42
9. Fix You
10. Strawberry Swing
11. God Put A Smile Upon Your Face
12. Talk
13. The Hardest Part
14. Postcards From Far Away (piano)
15. Viva La Vida
16. Lost!
17. The Scientist
18. Death Will Never Conquer
19. Viva La Vida
20. Politik
21. Lovers In Japan
22. Death And All His Friends

Encore:

23. Yellow
24. The Escapist

And now I will leave you with the latest video “Lovers in Japan.” By the way, the old school TV looking contraption that magnifies Martin’s hands as he plays the piano in this video, they brought that on-stage with them. And yes, the confetti did fall during this song at the show! Too bad I wasn’t anywhere near the line of fire. I wanted a piece of Coldplay-confetti for my scrapbook! Okay, I sound obsessed. I guess I won’t deny it.

Lovers In Japan @ Yahoo! Video

Well, if you’re interested in seeing a band who’s lead singer does not articulate one word, therefore, you cannot understand a single thing he says, I would suggest going to see a group called Dear and the Headlights. They did a ballad towards the end of their set which was disastrous considering the words to a ballad are most important. However, the music was good and if you visit their purevolume page you can understand what he (Ian Metzger) is saying. He just has to work on his live performance I guess. Is there anyone out there who went and agrees with me? There was really only about thirty people there I would say. Anyway, the album out now is called Drunk Like Bible Times and their full-length debut from 2007 is called Small Steps, Heavy Hooves.

And the real reason for attending Tuesday night was to hear Steel Train, a group I saw open for The Hush Sound a few months back. I had met the guys and bought their album Trampoline. They started with “Firecracker” and completely rocked it out. Expecially frontman Jack Antonoff who was giving an up on his tippy-toes, neck-vein popping performance. They did my favorite song “Dakota” which surprisingly had a weaker vocal but a nice guitar solo. They played a new song called “Soldier In The Army” that will be on the next record. It was good. Watch out for these guys, the new album will be out SOON. They’re still in the peachy rising to fame stage and are so excited that I suspect things to happen rapidly.

They did one off their first album called “Road Song.” I remember this one from the last time I saw them. This song is about making it onto a national tour. Evident in the lyrics, “…send your dad a note, you made it kid, you’re on the road.” This is also the one where the crowd joins in for “…my steel train is gonna ride on ’til the end!”

They only waited a second after the set and came back on for a two-song encore. The last song was “A Magazine” which has a little Beatles “A Day in the Life” rip off in it as it has a whirling build up, a substantial pause, and then a similar piano re-entrance. It’s a great song!

Have a listen to this little performance of “Road Song.” This is how they always perform it.

1. Firecracker
2. Kill Monsters in the Rain
3. Alone on the Sea
4. Dakota
5. Soldier in the Army
6. School is for Losers
7. Road Song
8. I Feel Wierd
9. Black Eye

Encore

1. Women I Belong To
2. A Magazine

Brace yourself, I have two concert reviews for ya’ on this beautiful Friday. Actually, it’s only 65 degrees in Houston today. Chilly!

On Tuesday night I saw The Ting Tings at the new House of Blues in Houston. First of all, I got in for free! I was waiting in line around 8pm to purchase my ticket as the opening band was playing. The girl in front of me turned and said, “I have an extra ticket would you like it?” I later read in the Houston Press that they were offering free first-come-first-serve tickets at the HOB box office until 6pm and I didn’t feel special or lucky anymore. Anyway, the opening band was a local Houston band called The Watermarks. The only song I caught was called “Shut Down.” Then they ended with a little Janis—“Peace Of My Heart.”

And so began the LONG equipment set-up for The Ting Tings. The last thing they brought out was the huge bass drum that I knew would be used for “Shut Up and Let Me Go.” They had spelled out The Ting Tings on the drum with what looked like black electrical tape. Katie White took the stage wearing a huge wide-neck sleeveless top falling off her shoulders and belted at the waist. She had black shine leggings and black patent leather mid-calf wrinkled boots with huge silver studs along the rim. I loved the outfit. I will now probably try to copy it.

They started with “We Walk” and she played her compact keyboard. I guess that’s what it was. Although, it very well could have been something fabulous that I know nothing about as I lack instrumental knowledge. Both she and drummer Jules De Martino are great musicians. They play several instruments and their stuff includes a lot of percussion. When they did “Traffic Light” Katie said, ‘…and this is what it’s like when The Ting Tings do a slow song.” When it came time for the encore Jules came back onstage with his camera recording the crowd saying he had a lot of friends back in the UK that he wanted us to say hello to.

To put my British vocabulary to use, all in all I thought the performance was brilliant! It was very high-energy and the drum beats and repeated lyrics make the songs very catchy.

1. We Walk
2. Great DJ
3. Fruit Machine
4. Keep Your Head
5. Traffic Light
6. Be The One
7. We Started Nothing
8. Shut Up And Let Me Go

Encore
1. Impacilla Carpisung
2. That’s Not My Name

Have a listen to “Traffic Light”

Last night I went back to the HOB to see Sara Bareilles and Marc Broussard. I have seen Sara before at the Parrish in Austin, TX but I had never seen Mr. Broussard. I showed up when the opening band was performing as I always do. I did not get a free ticket this time and it was a little pricy for my taste. Usually my shows cost $12 to $18. This one was $25. Anyway, it was worth it.

Raining Jane was the name of the opening act. I walked in on what they later described as the Jam Session they like to call “Brown Town” which is a celebration of their ethnicity. One of the girls in the group was Persian. Then they sang ‘a little ditty about first love’ called “Papercut.” The lyrics were cute and the harmonizing was cute. It was altogether a cute song. They made me want to show up on time to every concert I go to because, while I hate waiting, I also hate to miss being introduced to something great. They co-wrote “A Beautiful Mess” with Jason Mraz and a version of it is available on iTunes. Their EP is called Paper Nest. They ended with a song called “Pinball.” All these songs can be found on their MySpace page if you follow the link above.

Marc Broussard followed Raining Jane and started with “Rocksteady” from the album Carencro. His first album on Atlantic Records, third full-length altogether, is called Keep Coming Back and was released on September 16, 2008. When he played “Another Night Alone” he told us that this was his favorite song off the new album. I bought his new LP and listened again when I got home last night. I love his pop-funk-blues mix of sound.

1. Rocksteady
2. The Wanderer
3. Real Good Thing
4. Another Night Alone
5. Home
6. Gavin’s Song
7. Going Home

Have a listen to “Home”

Sara B. came on-stage wearing a black pencil shirt and a white blouse looking like a business woman. Her lead guitar player wore a D.A.R.E tee-shirt. She started with my favorite song, “Vegas.” The whole night I knew what was coming next because I stood right near the sound equipment where the crew had a copy of the setlist. They included a little funk guitar when they performed “Morningside.” Then she did a song called “Love On The Rocks” and had a band member playing organ to her piano.

She then asked for a moment of our time to explain the ‘Vote for Eve’ buttons she had displayed on her merch table. Apparently she supports a non-profit whose sales proceeds go to the National Eating Disorders Association and by voting you may help Eve win $10,000 for her cause.

“Between The Lines,” she explained, is about always missing love. For instance, not being ready to love when someone loves you, or being in love with someone when they have just found someone else. Her song “August Moon” is about being cheated on by her high school boyfriend.

When she sang “Little Voices” she ended with ‘I used to rule the world, seas would rise when I gave the word’—yeah, she threw in a little two-line Coldplay teaser. Strobe lights flashed during “Come Round Soon” and I thought to myself, ‘as if I’m not already immersed by the music alone.’ She ended the song with, ‘I kissed a girl and I liked it.’ Okay, now she was just having fun. I could have done without the Katy Perry cameo. She sang “Love Song” exactly the way it is on the album which I thought was nice. Why change something everyone already loves as it is? She ended the set with “Many The Miles” and Marc Broussard joined her on-stage and they made it the little we-sing-you-repeat crowd interactive number of the night.

The encore came and she brought Raining Jane on-stage with her and they did “Sullivan Street.” She had been on tour with Counting Crows and that is her favorite Counting Crows song so she chose to include it in the encore. Then she finished with a solo of “Gravity.” It was a neat way to end the show. She just belted out this beautiful ballad while everyone stood still and silent listening, including all other band members and opening acts that I could see were standing just inside the stage curtain.

Have a listen to “Fairytale”

1. Vegas
2. Bottle It Up
3. Morningside
4. Love On The Rocks
5. Between The Lines
6. Fairytale
7. Feel It All
8. August Moon
9. Little Voice
10. City
11. Come Round Soon
12. Love Song
13. Many The Miles

Encore
1. Sullivan Street (Counting Crows cover)
2. Gravity