ADULT.
The Echo in Los Angeles, California
May 13, 2005
Reviewed by Ivan Fernandez
Two hours. That's the amount of time I stood in line for a show outside The Echo. Pre-sale tickets for the night's show featuring Detroit's electro power couple ADULT. had sold out weeks ago and there was no guarantee that everyone standing in line would be able to get in. And yet, there I was in line with close to another hundred people, moving at the brisk pace of two steps every thirty minutes with nothing but a camera and a prayer.
Hot off the heels of releasing the D.U.M.E. EP (which stands for Death Unto My Enemies), the husband and wife team of Adam Lee Miller and Nicola Kuperus, a.k.a. ADULT., decided to hit the road for a few dates in support of the mini-album. Note to self: when the local city magazine, whose core audience is trendier-than-trendy trendsetters, advertises an upcoming show you're attending, make plans to arrive hours early.
Sadly, the long wait forced us all in line to enjoy the sounds of opener Gold Chains from outside the venue. All I could hear from outside was the train-like rush of the bass line resonating through the venue walls.
My comrades in line and I were also entertained by the appearance of Silverlake's Midnight Riders, a group of residents who meet up and ride their bicycles together every Tuesday night. Despite the free entertainment, the minutes dragged on for eternity and we had almost convinced ourselves that we'd be forced to listen to the entire show from three feet outside the entrance.
We were inches away from the door when ADULT. made it on stage. The soundwaves of the opening song teased us as they wafted through the open door of the venue. The gates of heaven were left open and St. Peter had been replaced by a burly security guard who gave us a peek of sanctuary.
My prayers were answered as we finally entered at the exact moment the group began playing their second song, "Glue Your Eyelids Together," from the Anxiety Always album. I whipped out my camera and got to work.
The venue was ridiculously crowded. At one moment in time, there were people crawling onto the side of the stage and dancing on the speakers. Security took care of that quickly. They didn't, however, stop the fight that almost broke out in the middle of the crowd between some guys and a pair of hipster homosexuals.
"Punching each other is not fucking cool at all," decreed Nicola. Amazingly enough, this calmed the crowd down enough to the point of "lightly shoving each other while hopping about" so that I wouldn't have to worry about my camera getting crushed in a sea of shoulders and focus on the show.
The duo performed a great mix of tunes from D.U.M.E. and their two full-length albums, Resuscitation and Anxiety Always. Their minimal electro tunes took on new life as their typical ice cold beats and dispassionate synths morphed into a hulking, breathing monster.
Nicola was the band's centerpiece as she stood center stage, microphone in hand, and sang the duo's electro anthems. Adam took a spot on one side of the stage as he swapped between guitar and bass throughout the set. There was a third guy whose name I didn't bother getting controlling the sequencers and synths.
The group's set felt too short but when the current catalog of music includes two LP's, an EP and a ton of remixes, there's not much you can expect. Nevertheless, kudos to ADULT. for giving electronic music a kick in the shin.
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The Black Keys
Circle Bar in New Orleans, Louisiana
May 2nd
TwiRopa in New Orleans, Louisiana
May 3, 2005
Reviewed by Virginia Dressler
The night before the scheduled Black Keys show on the 3rd, word slowly spread around town of a last-minute gig at my own favorite little dive bar, which has a frequent line-up of local punk, indie, honky-tonk or whatever. The main room is about the size and feel of my grandparent's basement in Ohio, enveloping its listeners into a tight space of sound. I've seen nights that have had people packed like sardines into this space, face to face with the band. This night was not as extreme, but comparable in proximity.
The lucky handful of locals who caught wind of the last-minute show were treated to an intimate set from the Henchmen, followed by an improvised set featuring members of the Henchmen, a Black Key and a periodic King Louie, local singer and harmonica player. Cover songs and some impromptu doodling made room for the collective members to goof around and to see where the fun would lead. King Louie would stand off to the side with harmonica in hand; ready to lend some free-wheeling harp into the mix. By the end of it all, Henchmen guitarist Tim Eight had thrown himself into the crowd and onto the floor in the midst of the hilarity.
The following night was much more direct in presentation, and perhaps more typical of a Black Keys show. The Henchmen delivered a tight set of songs both old and new. Songs off the most recent release, FormFollowsFunction, seemed to be the most polished. These boys from Detroit have been around longer than you might suspect, offering flavors of surf, rock and garage. Straightforward drumbeats lay the groundwork for catchy and ragged guitar hooks with overlays of organ. The vocals recall elements of Roxy Music and T Rex, like in the songs "Virginia Dare" and "Love."
The Black Keys often get compared to the White Stripes, though I feel that the only similarity is the number of members. While the nature of a two-piece means that the essential sound is unavoidably stripped down, the Black Keys are less formulaic in their compositions than the White Stripes. Singer Dan Auerbach's guitar takes the reigns, with reflective lyrics and disparate beats to follow. Patrick Carney's distinguishing drumbeats paired with Auerbach's full-bodied voice compliment the heavy guitar. Their sound is quite distinctive, in their exceptionally mature songs and considering an impressive track record in recording and touring in such a small amount of time. The crowd swelled to the front while the two Keys were on stage, and would not relent until the last note of the encore.
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Coachella Valley Music Festival 2005
Indio, California
April 30 & May 1, 2005
Reviewed by Ivan Fernandez
It is the last bastion of great American music and the only contender to the various music festivals held across Europe. The annual Coachella Valley Music Festival united various bands and performers of all styles and backgrounds to perform under the desert sun of Indio, California.
A large grassy field, two stages and three tents was the playground for over fifty thousand fans from all over the world. Everyone had his must-see performer of the weekend and there were plenty to choose from. With nearly 100 bands performing over the weekend, nearly every genre of music was represented on stage in one way or another (yes, even country, thanks to the lazy, sun-setting drawl of Rilo Kiley's performance).
Water bottles in hand, I ventured into the desert stronghold and braced myself for a weekend of epic Roman proportions.
SATURDAY APRIL 30
The Raveonettes: Sune Rose Wagner and Sharon Foo, backed by a full band, opened up the festival for me and my friends in the cool, early afternoon. Wary of warding off old fans, the duo only performed a few songs off their latest album, "Pretty In Black" as it wasn't released yet. The band played a great set that included a cover of AngelŒs "My Boyfriend's Back," also found on "Black."
Eisley: I was introduced to Eisley via a friend who played me a copy of "Room Noises," the youngster's latest release. It was a bit weird watching someone younger than I play on such a large stage and not at some small hole in the wall venue downtown. Still, the Austin, Texas group of siblings (and one friend) played a solid set despite it being on the slower side.
Immortal Technique: Born in Peru and raised in the streets of Harlem, Immortal Technique is the crassest MC out in hip-hop today and I will gladly put my money on that. Out of every performer at Coachella, he was the most charismatic. He openly (and vulgarly) expressed his anti-American government views and beliefs through words and songs such as "Bin Laden," a song that places part of the blame on the attacks on the World Trade Center on the USA itself.
DJ Tiga: The Montreal, Canada-based DJ is a mastermind behind the turntables. At one point, he mixed Prince with Daft Punk. It was the greatest mix since Felix Da Housecat mixed Nirvana and Fischerspooner at the Henry Fonda Theatre in Hollywood back in Œ03.
UNKLE: Ouch...bad transition between the DJ's. UNKLE is cool but placing him between Tiga and Josh Wink was a bad idea since his beat's are a lot more progressive.
Rilo Kiley : Boring. The mellow warmth of their music combined with the setting sun put me to sleep for most of the set.
Josh Wink: The unofficial king of the remix was not as good as Tiga, but he still spun a great set filled with many danceable tunes ranging from straight house to minimal electro. I was tired out before he even finished his set.
Weezer: I managed to catch the last block of their performance. It was sadly underwhelming. Cuomo's performance felt stiff and forced, as if his PR company prodded him into performing at Coachella. A fan kindly informed me that the band did not play a single song off of "Pinkerton" and played a whopping five songs from "Make Believe." Rivers Cuomo = too famous for his own good.
Bloc Party: God Bless Bloc Party! America's favorite European band played to a huge crowd. Pairs of feet hopped around to each song as Bloc Party proved they were more than just an NME flavor-of-the-month. Vocalist/guitarist Okereke's stage presence could've used a bit of work but the band knew how to rock their tunes out. Quite possibly the only band that managed to make the most elite hipster dance.
The Chemical Brothers: One thing I noticed in the Sahara tent where all DJ's perform was the nigh-painful increase in the bass output this year as compared to others. The Chemical Brothers made this exceedingly obvious when they blew the fuck out of everyone in their opening song, playing a single bass note that measured somewhere around a million on the Richter scale. It was akin to the scene in The Lord of the Rings: The Fellowship of the Ring when Sauron implodes and the white shockwave knocks everyone down. Imagine sitting in the center of the bass for that and you have the right idea. Fantastic set composed of remixed versions of an enormous selection of their tunes. Their onstage setup was equally incredible. It was built like the bridge for a spaceship composed of turntables, samplers, sequencers, etc.
SUNDAY MAY 1
Autolux: They were even better than when I saw them perform in February. Their mood-altering space-rock takes on a new form when brought to life on stage.
Thrice: Crowd surfing antics within the first 15 seconds! The post-hardcore group introduced the crowd to a few new songs off their upcoming album due in August. Thrice filled the "requisite metal/hard rock" Coachella slot very well.
Kasabian: Overhyped, manufactured "indie-rock" band. Pass.
M.I.A.: Maya Arulpragasam, a.k.a. M.I.A, made it to Coachella this year on a wave of hype behind her latest album, "Arular." While the album, a mash-up of grimy dancehall-style techno-pop, is a definite winner, her live performance lacks the same punch. I blame the bad performance on the cultural barrier caused by her syrup-thick Sri Lankan/London accent. It was the same problem I faced when trying to enjoy Dizzee Rascal at Coachella 2004. Namely, I had no clue what either of them was saying.
The Fiery Furnaces: What The White Stripes would sound like if they wrote soundtracks to 8-bit Nintendo games. Highly overrated by indie kids everywhere.
Miss Kittin: Fanastique! This woman knows her electro. I could not name nine out of ten songs she was spinning but they were all incredible and she seamlessly mixed in some electro classics like Kraftwerk's "Computer World" for good measure. She spun "Requiem For A Hit" and sang the vocal parts. "I beat that bitch with a hit. I-beat-I-beat-I-beat-I-beat-I-beat myself!" Only an appearance by her collaborator, The Hacker, would have made this the perfect DJ set.
Arcade Fire: Everything you've heard about this band is true. Yes, they appear on stage in helmets and punch each other out with boxing gloves fitted for The Incredible Hulk. Yes, they play a fantastic and very emotional show. Yes, you need to make every effort possible to watch them perform. Win Butler's awkward stage dive was the highlight of the night.
New Order: This year's biggest disappointment. Vocalist Bernard Sumner continually complained about his sprained ankle and the band definitely showed their age. Worse, their one hour set felt much shorter. The old boys performed a ton of songs off of their new album Waiting For The Sirens Call and threw in a few classics such as "Crystal" and "Bizarre Love Triangle." In a nod to former bandmate Ian Curtis, the group also performed a handful of Joy Division songs including "Love Will Tear Us Apart." Not surprisingly, they finished their set with "Blue Monday."
Nine Inch Nails: Good lord, Trent Reznor may be the king of industrial mope-rock, but his new body mass doesn't reflect that image at all. Sporting biceps the size of his head, Reznor and crew permanently damaged all eardrums within a two mile radius with performances of classics such as "Terrible Lie," "Head like a Hole," and new songs as well. Despite a fabulous performance and light show, I still felt like there was something missing. Obviously, had this been a full-on Nine Inch Nails concert, there would've been something wilder on stage.
The Faint: Nü New Wave Goth rockers The Faint won the award for Most Innovative performers. Their big-screen projections were what college filmmakers wet dreams are made of. One short video was comprised of footage shot earlier during the day at the festival. The footage, composed of festival attendees cheesing it up for the camera, was synced to the beat of "Glass Danse." The set was a non-stop dance orgy of light and sound. Another independent band that lived up to the hype.
The Prodigy: Like the previous nightŒs Sahara Tent headliner, The Prodigy assaulted the amped-up crowd with unnatural levels of bass and treble. The trio of Keith Flint, Maxim Reality a.k.a. Keeti Palmer and Liam Howlett, backed by a drummer and guitarist, shattered the conventions of electronic music with their two-hour set of drum Œn bass antics. There's no better way to end your weekend than by watching a maniacal British vocalist with a Flock Of Seagulls hairstyle prance about on a giant stage, flanked by a ragga MC and a wall of amplifiers.
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Gogol Bordello
TwiRoPa in New Orleans, Louisiana
April 23, 2005
Reviewed by Virginia Dressler
The first time someone played a Gogol Bordello song for me, it came with the advice that I should see the band live to truly appreciate the full effect of their music. And rightfully so, as the recording could not possibly translate the ensuing madness and energy of the live set.
New Orleans band Morning 40 Federation opened the show with their own adaptation of funk and jazz with gritty songs about drinking, hangovers and chili cheese fries. Many of their drum-and-bass-heavy songs punched with trombone and trumpet are akin to Morphine. A dedicated local following was in house, screaming out words to the songs with drinks in one hand, and cigarettes in the other. During the set, a local dance company descended into the crowd adorned in fantastic homemade garbs, adding to the excitement. Two dancers wearing eight-foot animated heads made out of paper and fabric wound their way in and out of the crowd, hyping the audience for the main event still to come.
Gogol Bordello is self-described as Ukrainian gypsy punk cabaret. The members currently reside in New York City, but hail from Ukraine, Russia and Israel. Fiddle, accordion, drums, bass, guitar and the boisterous vocals of Eugene Hutz comprise the heart of the band, though the performance aspect almost places the instruments as after-thoughts. All of this is enhanced with the intermittent appearance of two girls dressed in a cross between circus wear and military uniform, equipped with cymbals and a bass drum. They coordinate their movements of jumping and running in place with the beat, much like those wind-up toy monkeys.
Lead singer Eugene Hutz took the stage that evening with a grandiose leap, announcing the start of the whole show with a sweeping gesture only to be echoed in the ensuing performance. Hutz punctuates his lyrics with fist-pumping and high-stepping moves, repeated by the audience. Gogol Bordello translates some songs into English, often repeating choruses for the (most likely) already drunken crowd to participate in the singing and dancing that's taking place on-stage. Fiddle player Sergey Ryabsten fervently and soulfully executes increasingly fast paced melodies. Hutz and Ryabsten have an almost electric bond, feeding off of each other's energy. Songs twist and turn into rambling translations, trading off leads from each member. The audience seems to play as important a role as the musicians do, reciprocating the energy of the band into an almost dizzy frenzy of song and dance.
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Joel Plaskett with Peter Elkas
Hugh's Room in Toronto, Ontario, Canada
May 1, 2005
Reviewed by Lisa Hood-Anklewicz
Last time Joel Plaskett came through town, he played back-to-back sold out shows with his band The Emergency at Lee's Palace and The Horseshoe Tavern; very typically rock spots. This time around, Joel and Peter Elkas have been making their way across Canada playing solo shows, Joel in support of his new solo record La De Da, and Pete in support of last year's Party Of One. Hugh's Room is not your typical concert venue, with tables for about 200 people and standing room at the back bar, as well as a full serve dinner and drinks menu. The venue choice fit well with the tour, but the change of atmosphere was not lost on Joel or Pete, who commented about how cool it was to see how they were causing such a rock and roll crowd to grow up a bit.
Elkas took the stage at about 9 o'clock for a very relaxed set of tunes from Party of One, and one new song, "Fall Apart Again." Moving between an acoustic guitar, an electric guitar with some use of a digital loop machine, and a Wurlitzer keyboard, Pete was clearly confident with being solo on the stage. In full storytelling mood, Elkas kept the stage banter light and humorous, even at one point revealing the source of a new nickname ("Lady Pants") that he had recently earned, and conveying just why "Turn Out the Lights" is the "sappiest tune" he's ever written.
When Plaskett took the stage an hour later, it was clear that he was in top form for the show. His spirits were high, the stories kept coming, between and during songs, and the performance was the strongest I've ever seen. Joel's vocals were dead on-clean, crisp and clear-and the music flowed out of him as if it was as natural as breathing.
Plaskett started the set with "Powerful Lights," a rare treat from his first solo album, In Need of Medical Attention, and then moved through both of his solo and his two Emergency albums throughout the night. "Work Out Fine," a usually rocked out tune with the Emergency was delivered on acoustic guitar, with short antidotes about tour travel in between verses.
Pete joined Joel on stage for a handful of songs, lending extra instrumentation with the Wurlitzer on "Day You Walked Away" and "Non-Believer." "Happen Now" was given a great foot stomping performance when Pete took the acoustic and Joel picked up a tenor guitar. Perhaps the highlight of the duo was "When I Have My Vision," where at mid-point, Joel left the door open for Pete to get a little "experimental," flipping between the electric guitar and the Wurlitzer to purposely make a "bad" sound. It provided quite a few laughs not only for the crowd, but for Plaskett and Elkas as well, with Joel commenting on how the song got more and more ridiculous every night.
Plaskett wrapped up the set with "Love This Town" before coming back for an encore, where he decided to make an attempt at "Television Set" on the Wurlitzer, promising that it would sound much better next time around. Throwing it out to the crowd for requests, and some how deciphering the sudden wall of shouts, Joel played the short, but sweet "Absentminded Melody," and an experimental attempt at "Truth Be Told," both from La De Da.
The show ended with a treat from the Thrush Hermit days, "Before You Leave," and once again Joel Plaskett had a very successful stopover in Toronto. This being the last of three shows, it didn't receive the same energy from the crowd as the first two, but that didn't stop Joel or Pete from delivering some of the finest performances of their careers.
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New Order
The Manhattan Center/Hammerstein Ballroom in New York City, New York
May 5, 2005
Reviewed by Susan Brooks
New Order needs no detailed introduction, being one of the most recognizable bands to come out of the post-punk explosion following the Sex Pistols' immeasurable impact in Britain. Coalescing from the wreckage of Joy Division in the wake of singer Ian Curtis's suicide, New Order formed their own path into the future by fusing dance beats and avant-garde artistry for a sound wholly unique.
The band just wrapped up a boutique-sized U.S. tour of only four dates before heading out for an international swing that will carry them through midsummer. The final show was in New York and was one of the hottest tickets of the season, selling out in minutes. I was lucky enough to not only attend, but to be in the first row, thanks to a general admission policy at the venue and my own determination in arriving hours early to stake out a great spot by the stage, an investment of time and energy well worth the effort.
From the opening notes of "Love Vigilantes" to the final echoes of "Blue Monday," the electricity never let up. I've never been lucky enough to see this band live before, and I loved every minute. Bernard Sumner is a great frontman and is (somewhat surprisingly given the somber sound of many of New Order's best songs) hysterically funny. He whistled, stomped, cracked jokes and danced as unselfconsciously as your best friend might in your living room. Peter Hook is just as entertaining. He climbed over a clutter of amps and mike stands to play to the opposite side of the stage from his usual post to Bernard's left, delivering full money's worth to both sides of the crowd. This was extremely emotionally affecting, as his bass is the backbone of New Order, and to have him make such a humble effort to play to all of us was like being granted a boon from nobility. Drummer/programmer Stephen Morris and new guitarist/keyboardist Phil Cunningham were more low-key in demeanor, but never let up with the sound. Cunningham replaces Morris's wife, long-time New Order member Gillian Gilbert, who has taken a hiatus to care for the couple's ailing daughter; he looked supremely happy to be sharing the stage with such luminaries for however long fate allows.
The setlist was varied and satisfying, mixing many of the group's most well-known hits ("True Faith," "Temptation," "Bizarre Love Triangle" and "Regret") with newer material. New Yorker Ana Matronic of the Scissor Sisters joined the band for "Jet Stream," from their latest album, Waiting for the Sirens' Call. Other selections from the album included the first single, "Krafty," and the title track. The biggest payoff by far for devoted fans, though, was the inclusion for the first time of classic Joy Division songs. New Order never played this material in the past for two reasons; firstly that they wanted to position themselves as an entity distinct from their prior incarnation, and secondly because they were simply too upset at Curtis' death to play anything they had done with him. But now it seemed enough time had passed, and four songs were from the Joy Divison catalogue: "Transmission," "Love Will Tear Us Apart," "She's Lost Control" and "Atmosphere." The reception to these from the New York crowd was beyond reverent, and the band themselves seemed to sense the transcendence inherent in these songs. Sumner even dropped to his knees more than once, and he and Hooky both seemed transported. I burst into tears, something I have never done in all my years of attending concerts. I understand now how people lose it at the opera. The personal relevance of these songs coupled with the consummate professionalism of their performance and the powerful subtext overwhelmed me, and I emotionally overflowed.
My companion's comment after the show was that it was 'godlike,' and I agree. This is not hyperbole. I have seen many live shows because I love music more than anything. I grew up with this band, through the eighties and nineties to now, and I have seldom seen a concert so good. If you can catch New Order overseas this summer or they are kind enough to add any future dates, don't hesitate. I now can't believe I never saw them before, and know that seeing them again would be, to me, worth almost any sacrifice.
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Nine Inch Nails
Manhattan Center/Hammerstein Ballroom in New York City
May 15 & 16, 2005
Reviewed by Susan Brooks
Like a phoenix rising from his own crash-and-burn ashes, Trent Reznor has resurrected his juggernaut Nine Inch Nails and recently returned to NYC for two shows in support of With Teeth, his first album in six years. Reznor was kept from the scene for so long by a slew of personal problems including a hard battle with alcohol and addiction and a slow return to creative inspiration following his recovery. Love him or hate him as an artist (and he does draw extremes of reaction in regard to his aesthetics), Reznor commands respect as a person for the intensity of his commitment to his vision in the face of a career-long uphill struggle against every bad aspect of the music industry: record label problems, money and management troubles and a harsh degree of public disapprobation for some of his rawer subject matter.
One stimulus for this acute reaction is that his pain is genuine, generated from circumstance, and no one is more honest at articulating his suffering and thereby elevating it into the apotheosis of art. This is strong stuff, and not for everyone, but for those who can relate, their commitment to a shared catharsis in the music is equally as passionate as his own. Even after this long absence, his fan base seemed to have swelled exponentially, judging from the response he received; Hammerstein Ballroom was packed to the rafters both nights and tickets were traded heatedly online for prices as high as hundreds of dollars a head.
Was it worth it? Yes, as far as this reviewer is concerned. Reznor built his reputation on the strength of his live shows and comes across more robustly than ever. His new band is furious, with two prior NIN associates (Jerome Dillon, drums and Jeordie White, formerly of Marilyn Manson, on bass) and two newcomers (Aaron North on guitar and Alessandro Cortini on keyboards). The presentation is of the same consistent high quality as past NIN shows, with a spare look and a fierce delivery. Reznor and co. ripped through twenty songs the first night and nineteen the second. Perennial favorites such as "Wish," "Gave Up," "Sin," "Terrible Lie," "March of the Pigs" and "Closer" made appearances both evenings, as did new tracks "The Collector," and the current single "The Hand That Feeds (With Teeth)" entered the US charts at #1, mostly due to pent-up demand but also partly because of the energy of this song). Sunday's show was evenly weighted in content towards the oldest and newest works, and included only one song from Reznor's atmospheric last opus The Fragile. Monday, though, showcased that collection in a tight subset of three songs. The set lists were different enough in scope to please the hardcore fans that attended both nights, and the ardor of each was equally incendiary - they took off like a rocket launch and never let up.
Reznor has also always been a groundbreaker in the details of presentation such as packaging, merchandising and video development. The structure of both shows rolled relentlessly toward a two-pronged conclusion with the inclusion of show-stopper Hurt and the summation by NIN's first big hit, "Head like a Hole." The shows ended thus without encore, but didn't need one. They were like blasts of light from start to finish and the well-established trope of exit and return was unnecessary. Reznor has promised a much larger tour in the fall and extending through next year for the many fans who were shut out of these shows; his triumphant return is all the encore he needs.
NIN opening act The Dresden Dolls were a breath of fresh air in a stale industry. Truly creative in their combination of Weimar cabaret stylings and rock and roll delivery, the duo came across as arty but unpretentious. It is not easy to open for such a well-established act as Nine Inch Nails, but the Dolls pulled it off with aplomb. Their cover of Black Sabbath's War Pigs undoubtedly helped to warm up this metal-loving crowd and their original material was intelligent and intriguing.
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