Live Review: Cloud Nothings with Gold-Bears and A Classic Education at the EARL, 2/17/12
Kids these days. Just think they know everything. Well, Cloud Nothings' Dylan Baldi decided to give it a shot and put his money where his mouth allegedly was. Dropping out of college at 18 and stocking up on CD-Rs, he had an album. Since then, the Cleveland band has been signed to Carpark Records and last month released the critically acclaimed Attack on Memory. Although the first single, "No Future/No Past," is a broodingly dark track (accompanied by a wickedly creepy video), it does not have the same uptempo, indie rock sound as pretty much the remainder of the album.
Having said that, Baldi even cranked those tracks up to 11. As with most young people (it was not immediately clear if he was even allowed to attend this 21+ event), he gets excited on stage and the screaming Dylan Baldi took over for several songs. Gotta give it to him though, he gave 110% on every song.
Most of Memory was performed, along with a few earlier selections, including "Hey Cool Kid," "Forget You All The Time" and "Understand At All." It's the new stuff, though, that is garnering attention from fans and critics alike. A departure from the lo-fi beginnings, Memory is reaching out to a bigger audience. Whether channeling Nirvana or The Strokes, Cloud Nothings have that indie edge that keeps your foot a-tapping.
Opening the evening was Atlanta's Gold-Bears, a "crash pop" band that hit the ground running. The driving indie-pop songs were mostly fueled by the new drummer ("the old drummer sucked"), who burned a million calories that night. Promoting last year's Are You Falling in Love, the Bears have a clean sound that the crowd clearly appreciated.
The night's big surprise was Italy's A Classic Education. With a tight band, great musicians and a lead singer with a great voice and stage presence, there's no where to go but up for these guys. Playing several catchy tunes from their two full-lengths Call it Blazing and Hey There Stranger (both on Lefse Records), the band did a fine job keeping the energy going, after just flying in the day before from Europe.
Live Review: They Might Be Giants and Jonathan Coulton at the Variety Playhouse in Atlanta, 2/10/12
In the first of a two-night sold out weekend at Atlanta's Variety Playhouse, They Might Be Giants took a well-deserved break from the "family" shows. Don't misunderstand, the typical family show takes place at 2:00PM on a Saturday afternoon, and is filled with gems from the TMBG kid-era No! and the Here Comes series (the ABCs, the 123s, Science). These back-to-normal regular shows are all rock and grown-up talk. Originally a duo with John Linnell and John Flansburgh gracing small stages in the mid- to late-eighties with a guitar, an accordian and a drum machine, the Two Johns now have a phenomenol backing band that really know how to rock.
The evening was filled with 25 years of TMBG hits, but especially songs from the latest 18-track release Join Us (Idlewild Records). From that, "Can't Keep Johnny Down," "You Probably Get That A Lot," "Old Pine Box," "Celebration" and "When Will You Die" were standouts. They have brought back some of that early sound that made them famous in the fist place (catchy, quirky, hooky and fun).
Interspersed between songs were the Avatars of They (John and John's alter-egos in puppet form). The two sock puppets are able to say inappropriate things and get all political but it's okay. They're only puppets. The crowd was also part of the show, as when they were divided down the middle by a spotlight from the stage to the balcony. Stage left was apes, while stage right was people. Each side competed by raising fists in the air and screaming. People won.
From the old stuff, fans heard "Subliminal," "Birdhouse In Your Soul," "Snowball In Hell," "Cowtown," "James K. Polk," "Particle Man," "The Guitar" and "Fingertips." Two encores included "Doctor Worm" and "Istanbul (Not Constantinople)" among others. The band is rounded out by Dan Miller, Danny Weinkauf and power drummer Marty Beller. These three guys complete TMBG. The Two Johns have come along way since the drum machine days. This is an excellent band.
The opening act was Jonathan Coulton ("and the Coultoneers"), a trio assembled not unlike the Giants (quirky, poppy melodies with smart and witty lyrics). Coulton played much of his recent release Artificial Heart (Jocoserious Records), plus fan favorites "Code Monkey" and "Still Alive." But it was "Re: Your Brains" that really got the crowd involved. The song is about a poor schlub who becomes a zombie and now wants to return to work. The audience quickly learned the chorus ("All we want to do is eat your brains") and Coulton filled in the rest of the song with hilarious lyrics ("We're not unreasonable, I mean no one's gonna eat your eyes"). It's an instant classic and possibly the most memorable song of the entire evening.
It was the late-eighties and for Uncle Green, the dream was coming true. They were a well known college rock band that was successfully touring. Soon came the big label deal, exposure, chance of a lifetime. After a short stint on the label, it was back to the drawing board. Several attempts to regain label support failed and the four members continued on with their lives and the business of raising families.
After years of wondering, drummer Pete McDade decided to hunt down the "lost tapes" that were ready for release back in '97. Those songs were recorded in that now-famous rented house in Atlanta's Little 5 Points. After nearly two years of searching, the tapes were discovered buried deep in a Sony warehouse. Many emails, calls and sleepless nights later, he had them in his hands. Now what?
The members of the band, which formed in high school in the early '80s in New Jersey, were scattered about the country. McDade began the arduous task of reconnecting musically (see The Blues Brothers: "We're putting the band back together."). Remaining members of the band, Matt Brown (vocals, guitar), Jeff Jensen (guitar, vocals) and Bill Decker (bass) were all open to the idea of self-releasing the newfound tapes. A Kickstarter campaign ensued to fund the mastering and the fans came through - in a big way.
The massive Rycopa (a 32-song blast) hits you from all fronts. To list all the apparent influences would be tough. From "Standing Out In The Rain" (Ben Folds) to "St. Lazaro" (Squeeze - in fact, if that's not Difford and Tilbrook, I owe a man some money) to "Sunrise Lullaby" (Beatles) to "Super Kitty Uh Huh" (Monster-era R.E.M.), Rycopa is hitting on all cylinders. But to say that Rycopa is just an amalgam of all these apparent influences would be unfair. Like their previous life, Uncle Green/3 Lb Thrill have definitely created their own personality. From Brown's vocals to each members contributions, they are easily identifiable with a distinctive sound.
Rycopa kicks off with "Not In Range," a rolling rocker that is officially dubbed the first single, in this writer's humble opinion. Throughout several tracks, the boys keep their sense of humor ("Lucy In The Streets With Dimetapp," "It's A Red, Red, Red, Red, Redneck World"). But don't expect to hear that instant hit with addictive hooks. Rycopa takes a few listens - then you're hooked.
In honor of the foursome's belated release, a special one-off reunion show will take place Saturday, February 25 at Smith's Olde Bar in Atlanta. For all those fans of Uncle Green and 3 lb. Thrill, this is a gift from the heavens. It will showcase all the fantastic stuff from Rycopa, as well as a trip down memory lane, performing all those songs the fans know by heart from the nineties. To grab a copy of the new release, go to CD Baby. For ticket information, move quickly to Ticket Alternative. Tickets are only $12.
Openers for the show will be The Head and Pink Pompeii. Also, be sure to catch a very special in-store performance (family friendly!) at 3:30 the day of the show at Decatur CD.
Live Review: Future Islands at the EARL in Atlanta, 11/26/11
To call Baltimore’s Future Islands “interesting” would be a gross understatement. Lead singer/growler Samuel T. Herring takes the listener on a journey on par with the most disturbing David Lynch creations. He drifts seamlessly from a guttural grunt to a strong and stunning voice, sometimes flirting with a falsetto. And he’s funny. It’s as if Henry Rollins and Jack Black had a love child. A dark and brooding love child.
Imagine all this with a backdrop of synth-rock epicness and you’ll understand the essence of Future Islands. I can guarantee that this is like nothing you’ve ever seen or heard. And after most songs, Herring spit out a “Fuck right!” to somehow underscore how awesome that last song was. No reminder necessary. His passion and sweaty performance convinced the roomful of listeners at the EARL that this was a very special Thanksgiving weekend treat.
Herring’s scary demeanor aside, this was one hell of a rock show. The trio also includes the talented Gerrit Welmers (keyboards and programming) and William Cashion (guitars). No eye contact among the three was witnessed. Maybe Welmers and Cashion are afraid of Herring, too. They simply did their thing and kept their eyes averted for most of the evening.
Touring in support of their recent release On the Water (Thrill Jockey), the boys grooved into hints of vintage New Order and Cure. Some songs take you down three different roads at once, as if three genres have collided. Songs like “Balance” and “Before The Bridge,” from the new album, along with terrific selections from last year’s In Evening Air including “Vireo’s Eye,” “Walking Through That Door,” “Tin Man” and “An Apology” were a welcome change from the usual riff raff heard in local bars. This is a band to watch and you owe it to yourself to check them out now.
Self-proclaimed “stump rockers” Lonnie Walker opened the show and exceeded the crowd’s expectations being the first band in a three-band evening. The Raleigh natives played like headliners. Drawing comparisons with the dB’s and the Feelies, these 80s-college-rock-sounding dudes are for real. Such righteous songs as “Grape Juice” and “Teenage Poem” gained the audience’s attention immediately. The band is currently touring in support of These Times Old Times (Terpsikhore).
Ed Schrader's Music Beat stunned and amazed with reckless abandon. Two guys: one banging a single drum while singing, the other one (Devlin Rice) playing the bass and being ginormously intimidating. If these guys require a label for their music, it has not yet been invented.
Ranging from screaming anger (“Gas Station Attendant”) to low-key, funny hooks (“Rats”), Schrader’s songs thrilled and delighted virtually everyone in the room. He repeatedly echoed what one fan apparently stated, that he was reminiscent of Jim Morrison (the truth is, he sounded very much like the late Doors man). These two woke up the room (and everyone else within a ten-mile radius). Three one-of-a-kind acts on the same stage and the same night. The EARL hit a homerun with this one.
Live Review: Holy Ghost! on the Masquerade Hell Stage, 11/21/11
Brooklyn's Holy Ghost! have been on a steady incline this past year, getting a thrust from their Static on the Wire EP release last year and especially their self-titled release this past spring. The New York duo of Nick Millhiser and Alex Frankel have know each other since first grade, and been making music almost that long.
It all began with some bluesy covers, then the move into hip hop, and now they've created a sort of 21st century disco, for those who care to listen. Apparently, there are a lot who care to listen. Promoted on James Murphy's DFA Records, Holy Ghost! have received rave reviews and have been hitting the pavement hard this past year. Still, the band is not a household name in America. (And yes, it's that James Murphy, of the wonderful - and missed - LCD Soundsystem)
This was the third trip through Atlanta in 2011 for Holy Ghost! Back in March, they swept through, supporting the terrific Cut/Copy tour. Then in August, they were part of the electronic/DJ Identity Fest. Now, on a headlining tour, Millhiser and Frankel have proven to be ready for the challenge.
Playing nearly the entire album, as well as some tracks from 2010's Static on the Wire, Holy Ghost! pleased their fans with some excellent late 70s/early 80s sounds that do not seem dated. It's an update on that era, with a 2011 NYC spin. "Hold On," "Do It Again," "Wait & See" and "Hold My Breath" were just a few of the tunes performed.
Holding court on the Hell Stage of Atlanta's Masquerade is no small task when the metal/hardcore Thrash and Burn tour is pounding away on the Heaven Stage (upstairs). The boys laughed it off and actually seemed to be using the thumping from above as a sort of programmed drum machine. Somehow, it worked.
So, with a little more exposure and a lot more touring, American may just be ready for a little salvation with Holy Ghost!
Live review: Wilco with Nick Lowe at the Cobb Energy Centre in Atlanta, 9/29/11
After initially being pegged as a "country rock" band, Wilco has shed that skin over the past few years. Critics hail the band as "The American Radiohead." With the release of The Whole Love (dBpm), it's clearly time to reconsider this and begin saying, "Radiohead is the English Wilco" (listen to the lead-off track "Art Of Almost" and you'll understand).
The Chicago group, headed up by Jeff Tweedy, has once again released a critically acclaimed and commercially successful album. The first single, "I Might," is more pop than usual, with a sixties organ keeping it happy. Wilco kicked off the Atlanta show with "One Sunday Morning," a beautiful song, despite it's twelve-minute length. As he played the Rickenbacker and sang those songs, Tweedy exceeded his annual quota on smiles. Dude was having a good time. And how could he not be? Looking at all that talent surrounding him: the indomitable Nels Cline shredding the guitar, bassist John Stirratt, drummer Glenn Kotchke and multi-instrumentalists Pat Sansone and Mikael Jorgenson. It was a master class on rock.
"We'd like to announce a special guest we've had on stage this evening. Nels is playing Duane Allman's guitar. He is borrowing it for the night," Tweedy announced. "This is like using Picasso's brush or Noah's hammer." One could argue that it's like Monet borrowing Picasso's brush. The band played most of the excellent new Whole Love, seamlessly weaving in these songs with classics from such albums as Sky Blue Sky, Yankee Hotel Foxtrot, Being There and Wilco (the Album).
More than once, Tweedy mentioned how much better this second night crowd was than the previous group. Of course, this is standard operating procedure for a band to announce and will always garner cheers and applause. However, it was somehow believable, especially when he said, "They were just weird." For sure the energy level was turned up to 11 during this second show, as several fans who attended both shows attested. At times, the crowd's voices far outblasted those of the band, which can be a blessing and a curse for an artist (It's reassuring that everyone knows our lyrics, but shut up and let me sing). It's a nice problem to have.
Wilco played for about 90 minutes before retiring backstage to wait for the inevitable encore. Then another seven songs and 30 minutes later, they called it a night. One downside was that Mr. Lowe had joined them in a couple songs during the previous night's encore. Not tonight. He was probably halfway back to England when the lights came up.
It was a phenomenal performance and the venue's superlative acoustics only added to the experience. Wilco continue on the Whole Love tour in the states, then jump over to Europe, than back to the U.S. They'll wrap up in Chicago in mid-December. If you see one concert this year, make sure it's Wilco. Nick Lowe, a.k.a. "The Jesus of Cool," proved why he's the britpop/new wave god responsible for inspiring so many artists. His sound is at once folksy ballads and acoustic-style Clash. And a minimalist set it was from Mr. Lowe, accompanied only by his acoustic guitar and that voice. And that white head of hair held together with those black Buddy Holly glasses. But the songwriting is among the best. It was a treat hearing his 1979 hit "Cruel To Be Kind" in such a setting.
Lowe performed several cuts from his new release The Old Magic (Yep Roc Records). His songs continue to be an amalgam of witty storytelling and deep thinking. Always a winning combination. Lowe surely felt the love in the room as fans roared between songs. Though there was no "(What's So Funny 'Bout) Peace, Love and Understanding" or "I Knew The Bride (When She Used To Rock And Roll)" it was a moving performance and made this two-for-one bill priceless. "All Men Are Liars," "What's Shakin' On The Hill," "I Love The Sound Of Breaking Glass" and "The Beast In Me" more than satifsied hardcore Nick fans.
Wilco Set List
One Sunday Morning
Art Of Almost
I Might
Muzzle Of Bees
I Am Trying To Break Your Heart
One Wing
At Least That's What You Said
Capital City
Misunderstood
Jesus, Etc.
Born Alone
Box Full Of Letters
War On War
Standing O
Rising Red Lung
Impossible Germany
Dawned On Me
Shot In The Arm
Encore
Whole Love
California Stars
Hate It Here
Walken
Red-Eyed & Blue
I Got You
Outta Mind (Outta Sight)
Live Review: Blondie with The Romantics at Verizon Wireless Amphitheatre in Atlanta, 9/23/11
The punk/post-punk/new wave movement has been littered with bodies since it changed the musical landscape in the late seventies and early eighties. There are few bands who have withstood the test of time and still remain relevant. Very few. Blondie appears to be one of the lucky ones. The relevance is underscored with the new release Panic of Girls this month, a near-return to Blondie's early eighties glory.
Sixty-something rock veteran Debbie Harry showed real vim and vigor and exhibited why she became famous in the first place. Many songs were off the new record and fell smoothly within the realm of Blondie's early work. Along with Harry, guitarist Chris Stein and drumming wonder Clem Burke remain from the original line up. Burke, who is clearly a Keith Moon devotee, tore through those drums like he was 20 again, CBGB shirt and all.
And Harry sang like her 20-year-old self. It's one thing to do reunion tours. It's a whole other thing to do these tours behind a new album of original material. Good material. All the old favorites were on the set list, including "Atomic," "Call Me" and "Rapture," which led seamlessly into a full-on cover of the Beastie Boys' "Fight For Your Right." This was a surprise to many in the audience and sounded incredible. The encore consisted of two of their biggest songs, "The Tide Is High" and "Heart Of Glass."
The Romantics proved yet again why they were MTV and Top 40 darlings in the early eighties. The sing-along hits were all played. "Talking In Your Sleep," "Rock You Up," "She's Got Everything" and the big one, "What I Like About You." Lead singer Wally Palmar tours with Ringo Starr's All Starr Band when on hiatus with The Romantics. Brad Elvis raised the bar for the Romantics hits with his precision drumming skills. Often referred to as the "four-handed drummer," Elvis entertained fans with his hijinks behind the kit. But the real draw is his efficient use of the space-time continuum on those skins. One must see it to believe it, but this dude's one of the best drummers in the country. Like Burke, Elvis is a dyed-in-the-wool Moonie (Keith, that is), and would fit right in on the next Who tour (listen up, Pete and Roger).
It was a night to reminisce and be nostalgic of an era that changed music. To see both bands still performing at the same level - or maybe higher - is reassuring.
Live Review: Chromeo at the Masquerade in Atlanta, 9/22/11
Please don't tell Dave-1 or P-Thugg that disco is dead. And if it was, Montreal's Chromeo have revived it bigger than the Frankenstein monster. The electro-funk duo got together in 2004 and has been filling dance floors and bursting eardrums ever since. Having been compared to a swath of such 80s icons as Klymaxx, Sylvester and even Hall & Oates, Chromeo play familiar sounds but with a cutting edge. Check out this amazing collaboration with Daryl Hall from Live from Daryl's House.
The duo is made up of Dave-1, the charismatic frontman who sings and plays guitar, looking like he just stepped off the set of Miami Vice. P-Thugg is the DJ synth master who looks like your plumber with shirt unbuttoned and belly hanging out (speaking and singing ONLY through the talkbox - think Frampton Comes Alive). It's an unlikely duo, both visually and musically. Maybe that's why it works. The fans believe it works. Before the duo even took the stage, the crowd was chanting "Chromeo, ohhhh-ohhh!" sounding like a 21st century remix of The Wizard of Oz munchkins.
Touring in support of their latest release, Business Casual, Chromeo have brought back 70s funk with an 80s synth feel and a 2011 attitude. Contemporaries Hot Chip, Holy Ghost!, Cut Copy and LCD Soundsystem would all concur. "Hot Mess," "Night By Night," "Fancy Footwork," "Bonafied Lovin" and "Momma's Boy" each brought down the house. This is not music you'll hear on your local Top 40 radio station because it does not fit within the constraints of that music. When someone says, "Think outside the box", they're talking about Chromeo.
The floor at the Heaven Stage (upstairs) of the Masquerade was giving several inches as hundreds of crazed Chromeo fans jumped up and down in unison. If the floor survived this show, it will be intact for eternity.
Opening the show was Sammy Bananas, who's DJ skills were only topped by his saxophone skills. That's right, he's working the turntables, filling the dancefloor, dropping some wicked beats - then out comes a saxophone. Not a saxophone file played from his Mac, but a REAL saxophone. It was a welcome surprise and the crowd went batty.
On deck were Mayer Hawthorne & The County, providing "blue-eyed R&B" to a happy throng of dancers. Imagine the best R&B/Soul music fronted by this young white dude who sounds like Smokey Robinson (but with more confidence). Hawthorne most definitely wanted all eyes on him as he is a first-class showman and wanted no fan to miss a second. "Okay Atlanta, let's put the phones away and act like the show is happening right now!" he said, with a touch of sarcasm. The band acted like they were the headliner, and got the love and respect as such from fans.
Live review: Elbow at Centerstage Theater in Atlanta, 9/20/11
A band like Elbow only comes along once a decade, or so. This is a special thing, this band. Another one of those special things would be R.E.M. After hearing the news Wednesday that they were calling it quits, one cannot help but speculate that Michael Stipe was in that packed crowd at Centerstage the night before in Atlanta. Witnessing that special thing called Elbow. And he summized that yes, there is one greater than us. Why go on?
The irrepressible and eternally glass-is-half-full Guy Garvey brought his British quintet back to Atlanta last night. The fans were there. The love was there. It was a terrific evening of music. The unbelievable story here, is that Elbow is not yet a household name in America. Despite the sonic perfection that they have created on each of their five studio albums (and a hundredfold playing live), they haven't cracked the U.S. yet with that one career-defining song. But the rest of the world is a bit more musically evolved. "We used to be cool," said Garvey. Only a cool person would say such a thing. For their previous release, 2009's masterpiece The Seldom Seen Kid, Elbow won the prestigious Mercury Prize. Nominated again this year for Build a Rocket Boys!, they just missed.
Garvey had a chat with the fans, asking for a regional or traditional song he could sing. Someone yelled out "Freebird!" People booed. One young lady got Guy's attention and her recommendation was the "chop chant" from the Atlanta Braves. While chanting this, one must move the arm up and down, as if weilding a tomahawk. I'm sure the Cherokee and Creek were turning in their graves. Anyway, Guy ran with this, did a little call-and-response with the fans, and it morphed into the chant from "Grounds For Divorce." It was such a perfect transition that either this girl was a plant in the audience or Guy Garvey is a musical genius. It is definitely the latter. This was one of the more upbeat rockers played Tuesday night, and at times the crowd's voices overpowered Garvey's.
To make a short list of highlights would be unfair to the band and the fan. Let's just say there were no "low-lights." Garvey's magnificent voice paired with his wit and charisma made every song the best song. This year marks the 20th anniversary of Elbow's inception, and the audience sang to them as they indulged in a round of shots. Over the course of those twenty years, they have amassed a bit of a cult following. Suffice it to say, everyone knows the songs. Between fans singing/yelling the lyrics, and screaming song requests, Garvey politely shushed them once or twice. "We're taking no requests at this time, thank you." he quietly stated. But these songs make you happy. And each band member plays at an advanced level, making the songs - many orchestral in nature - that much better.
Towards the end of the evening, a fan shouted, "Play something unapologetically optimistic!" Garvey responded, "That's all we play! Everything we've ever done is unapologetically optimistic!" In fact, after returning for the encore, the band played "Starlings," "Station Approach" and possibly the most beautiful and uplifting song in Elbow's repertoire, "One Day Like This." The song begins after and alcohol-induced fight the night before. It goes on to discuss growing old together. Garvey sings, "Cause holy cow I love your eyes / And only now I see the light / Yeah, lying with you half awake / Oh anyway, it's looking like a beautiful day." With victory in his voice and the surge of violins, you are compelled to sing along, "So throw those curtains wide / One day like this a year would see me right." I challenge you to find a mightier song.
Opener Glasser showed off her minimal set and Bjorkian ways. Her set was clearly a complement to that of the headliner's, but a thankless job nonetheless (most openers are). Her voice, however, was rich and powerful, and when she let go, it soared. Garvey would later admit that having her on the tour makes them hip and cool.
1.The Birds
2.The Bones of You
3.Mirrorball
4.Neat Little Rows
5.Grounds for Divorce
6.The Loneliness of a Tower Crane Driver
7.Great Expectations
8.The Night Will Always Win
9.Puncture Repair
10.The River
11.Lippy Kids
12.Weather to Fly
13.Open Arms
Encore:
1.Starlings
2.Station Approach
3.One Day Like This
Live review: Identity Festival at Aaron’s Lakewood Amphitheatre in Atlanta, 8/23/11
The shaking ground you felt and that thumping you heard last Tuesday was not a result of the earthquake. It was a special collection of electronic artists and DJs cranking it up to 11 on the volume dial. Lakewood Amphitheatre was host to the Identity Festival, a loud and raging affair sponsored by Skullcandy. It was also hot. For those not in the covered seat area for the main stage, it was even hotter. The Advent Stage was located in the parking lot. And with Atlanta temps hitting the mid-90s, it was a cooker.
One of the early acts to hit the stage was Afrobeta. Hailing from Miami, the avant-dance duo are Cuci Amador and Tony Smurphio. Sadly, their set was scheduled a bit before the students and workers of Atlanta stormed Lakewood, so a smattering of fans were present. Their energy and enthusiasm were there, as well as some very danceable music. But it was early. “Hey Atlanta,” Cuci yelled, “Do you guys party? Maybe? After the valium wears off?” This comment could have resulted from frustration, but it was fair. Later, Cuci told the Atlanta Music Examiner, “No, we weren’t upset! We’re new and not many people have even heard of us. It’s great to be on this tour. I just like messing with people.”
The Afrobeta set was a spirited one, featuring the new addictive single, “Play House” from the forthcoming Under the Streets (Aug. 30 on Do IT). A true highlight of the set was their electronic and excellent cover of Nirvana’s “Lithium.” They should put this one on a record.
The New York collective Hercules and Love Affair offered listeners some wonderfully wild songs. Again, playing to a small audience can be challenging, but they performed as if to a crowd of 20,000. Touring in support of their impressive new release Blue Songs (Moshi Moshi Records), the group inspired much dancing, sounding at times like a modern day version of Erasure (but with tremendous vocals).
Holy Ghost! brought there electronica-meets-eighties sound to the festival. While still playing to a somewhat thin crowd, these New Yorkers showed us why they’re one of the hottest bands out there today. The band – headed up by Nick Millhiser and Alex Frankel are out on the road with the Identity Fest playing terrific selections from their latest self-titled release (DFA Records) including “Do It Again,” “Static On The Wire,” “Hold On” and the terrific “Wait And See.”
They took the small crowd in stride and played through the oppressive heat. You can catch them later in the fall in Atlanta at the Masquerade, according to lead singer Alex Frankel.
The Crystal Method, headed up by birthday boy Scott Kirkland along with Ken Jordan are pretty much the granddaddies of this tour, having been around since the early nineties. But by contrast, these guys had more energy than many of the newer artists combined. By the time they took the stage, the largest crowd of the day had gathered and more approached in a zombie-like state once the Crystal Method started their noise.
This is when the festival became a full-on rave. It’s good to know that these fortysomethings can still cause high school heads to explode. It was a mad house, in a happy sort of way. One of the highlights had to be their very first single, “Keep Hope Alive” from 1994. Between inviting 20 people (mostly female) onto the stage to take part in a light saber battle and jamming while wearing a storm trooper mask, Kirkland definitely had a great birthday. “I wasn’t born in Atlanta, but I met my wife here,” Kirkland said, further bonding with his erratic fans. As far as they were concerned, he was a native.
Many more bands graced the stages of the first annual Identity Festival, including DJ Shadow, Steve Aoki and The Disco Biscuits. Hopefully, next time it’ll be on a weekend and the masses will come.
