“Hey, show’s starting. Let’s get a good spot”
“Ha ha, cool intro. Can’t wait for the band to walk on. Wonder what the ‘reveal’ will be.”
“Alright, so this is kind of surreal. Why’d the guy die? Is that her playing the maid?”
“This is creepy. What does this have to do with the show? Am I supposed to be getting something, because I’m not. Fucking hipsters.”
“Really, everyone’s applauding? God, people will cheer anything even if they don’t know what it means. Ok can we get some music now?”
“Um, what? Where’s the music? Is that it? Dammit, why did we rush to get here at showtime?! Didn’t really have to spend $10 on that hot dog.”
“Ok, back to the bar. Oh, hey John! Yeah, cool venue. No, it’s our first time. Definitely got here too early. Oh really, that long? Well, we rode our bikes so that’s fine. Should be a good one.”
“Ok, here we go. This has to be the real thing.”
Curtain opens slightly, reveals a single microphone, stage right.
The singer appears, alone.
“What’s happening? No I can’t really tell either. Is that her? Shit, we should have stood on that side. This place is so huge.”
“Ah, finally. I like this song. Where’s the rest of the band? Must be behind the curtain. But they sound good. Love the acoustics in this place, they really did it right. Not like Echostage.”
Curtain pulls farther back to reveal a second microphone
“Ok, now she’s got a guitar. Yeah, I can sort of see her too. Quite an outfit. I think Lady Gaga would approve.”
Curtain fully opens
“Wait, it’s just her? The music is recorded? Ok that’s a little weak. Now how am I supposed to know how good the sound is from a real show?”
“Well her singing is good. Some good guitar shredding. Glad I can finally see her, otherwise I’d be getting bored. Yeah, I like this song.”
“Now there’s ANOTHER microphone? Is there a point to all this moving around?”
“Ooo this is a good one. Dance time. She really doesn’t like to dance while she’s singing, does she? Whatever, let’s jam out.”
“Ok, bathroom break!”
“Shit, she’s starting- hurry up!”
Singer reappears, in new costume
“Ok good, at least she’s center stage. Wait, I think she’s on the floor. Look at where the spotlight’s pointing.”
“I think this is from her new album.”
“Yeah yeah, DC, woo hoo. No sermons please. Alright thanks, that was short.”
“Trippy visuals. Really reminds me of that Radiohead show. God she’s such an *artist*. Well, if there’s no band I might as well watch those.”
“Who’s Christina? Great, glad she was so inspirational for you.”
“Ok that’s the problem with using pre-recorded music. Now it just looks weird for you to re-start the song. Not sure what I expected but this Howie Day shit was old when he was doing it. Good thing the music is so good.”
“You like it? Yeah, pretty good for a first show here. Wonder how much different it would have been at 9:30.”
“Nope, still no clue what that movie was about.”
“Glad it’s not too late. Now how do we get out of here?”
The Birthday Party (film)
- Marry Me
- Now, Now
- The Strangers
- Actor Out of Work
- Strange Mercy
- Digital Witness
- Birth in Reverse
Part 2 (MASSEDUCTION)
- Hang on Me
- Los Ageless
- Happy Birthday, Johnny
- New York (Dedicated to Christina)
- Fear the Future
- Young Lover
- Dancing With a Ghost
- Slow Disco
- Smoking Section
Music (and even art more broadly) is escapism. A way to live (if only briefly) in an alternate reality. Sometimes, the best art has something to say about its own scene, a specific relevant issue, society at large, anything beyond the current moment. Sometimes, however, that escapism is just about that moment, with no deeper meaning or relevance.
The crowd at the 9:30 Club for Cut Copy’s show on November 29 didn’t really seem to care about anything deeper than having enough space to bust a move. Luckily, neither did the band. A minimum of banter meant that the music kept rolling for 90 straight minutes. No diatribes about politics, no attempts at uplifting “love everyone” speeches; just a steady groove and a deluge of colored lights. Bandmates Dan Whitford, Tim Hoey and Ben Browning put on an impressive display of technical virtuosity, switching off instruments song to song, while drummer Mitchell Scott kept the pounding beat. Everyone danced, most got sweaty, some sang along, and the whole crowd left happy and energized.
As they should. This show was a pure sugar rush, a diet of empty calories. But for one Wednesday night in November, it was enough.
- Need You Now
- Black Rainbows
- Where I’m Going
- Living Upside Down
- Free Your Mind
- Counting Down
- Pharaohs & Pyramids
- Hearts On Fire
- Standing in the Middle of the Field
- Take Me Over
- Out There on the Ice
- Meet Me In a House of Love
- Lights and Music
White boys have been playing at being soul men since even before Mick Jagger became the little red rooster. So while the idea of St. Paul and the Broken Bones isn’t exactly unique, their performance is still a fascinating spectacle, always a guaranteed fun time. Lead singer Paul Janeway is incredible, floating across the stage with a few (but only a few) James Brown-esque dance steps and belting his high-tenored soul out. It was enough to (eventually) get the crowd at Wolf Trap out of their (rain-soaked) seats.
Janeway is so dynamic, in fact, it made me come up with the following thought experiment: trade Sharon Jones (RIP) from the Dap Kings for Janeway. Which band suffers most? Which combination gets better?It’s a tough call but given that the Dap Kings have created some memorable music to critical and commercial acclaim (not only by themselves but having backed Amy Winehouse and Bruno Mars among others), I’m going to have to say that they would do more for Janeway than Jones could do to heal the Broken Bones.
It’s not a big difference but it says something to me about the band: that they lack a truly dynamic instrumental prowess. On stage, Janeway covers up those deficiencies. But on record, that dynamism doesn’t quite come across in the same, memorable way. Still, I’m hopeful that the rest of the band will catch up to Janeway and turn this band into a musical powerhouse that can match their performing credentials. Because I could always use some plastic soul.
Possible set list
- Crumbling Light Posts Pt. 1
- Back to the Future
- Like a Mighty River
- Flute Solo
- I’ll Be Your Woman
- Tears in the Diamond
- All I Ever Wonder
- I’m Torn Up
- Band Jam (instrumental)
- The National Anthem (Radiohead cover)
- Brain Matter
- Midnight on the Earth
- I’ve Been Working (Van Morrison cover)
- Broken Bones & Pocket Change
- Call Me
- Loran’s Dance
- Eventually (Tame Impala cover)
- Half the City
- Burning Rome
It started well. “Pleasure”, the opening song of Feist’s set at Lincoln Theater (which is also the first track of her new album Pleasure) moved with a sparse, rumbling groove reminiscent of Tunnel of Love-era Springsteen. But as the show slowly progressed towards Nebraska-era Springsteen, things went downhill. One soft acoustic number after another lugubriously rolled off of Feist’s guitar, with melodies and rhythms hard to discern. Even the Howie Day-like electronic vocal tricks Feist used to harmonize with herself only served to emphasize the sparseness of the atmosphere.
The vibe in the theater was respectful but not energized until Feist kicked off the second half of her set with some her better known songs and invited the crowd to “fill the aisles.” Fill they did but it was too late for me. I hate to admit it, but I got bored. Maybe I need a more punk-like energy, or maybe I need massive, obvious hooks, or maybe the comfy seats were too soporific. Whatever the reason, I just couldn’t get into the show.
And when I get bored, my mind starts to wander about random things. For example, why doesn’t Feist have any female backing musicians? Does St. Vincent? Did Joni Mitchell? Would it have made any difference for the show? Maybe not. But in general, it would be nice to see a few more X chromosomes laying down rhythms, playing leads and keeping the beat. Surely the male-dominated world of rock and roll has room.
- I Wish I Didn’t Miss You
- Get Not High, Get Not Low
- Lost Dreams
- Any Party
- A Man Is Not His Song
- The Wind
- Baby Be Simple
- I’m Not Running Away
- Young Up
- My Moon My Man
- How Come You Never Go There
- Sealion (Nina Simone cover)
- The Bad in Each Other
- Caught a Long Wind
- I Feel It All
- Let It Die
- Mushaboom (Acoustic Solo)
- Gatekeeper (Acoustic Solo)
Disco? Eh, not really my thing. But history and architecture I can go for. So for the once-in-a-lifetime chance to attend a dance party featuring the Guttenberg Bible, I was willing to slap on the most outrageous outfit my friend Amanda could conjure and wait for 90 minutes in a cold drizzle to take part in the Library of Congress’s Bibliodiscotheque on May 6.
Beyond silent disco in the famous Reading Room and the Jefferson collection being turned into a photo booth, the night’s main attraction was Gloria Gaynor, who was performing in honor of her anthem “I Will Survive” being inducted into the LOC registry of historic songs. A diva until the end, Glaynor appeared for an abbreviated performance that included several covers (“Killing Me Softly”, “Never Can Say Goodbye”, “I Am What I Am”) and no less than 3 outfit changes. Her voice was surprisingly strong, a reminder of her star power that was made even stronger when she had her backup singers meekly perform while she changed clothes. Even some of her new, gospel-themed songs managed to get the crowd grooving, no easy task.
Of course, the song everyone was there for was the one that closed the night. Maybe I’m soulless, but hearing Gaynor lead the “I Will Survive” singalong didn’t exactly result in deep chills the way, say, hearing Paul McCartney perform “Hey Jude” did. But it didn’t matter. Everyone danced and sang like their survival depended on every note.
Overall, it was crowded, it was loud, it was fun. Come to think of it, that’s probably a pretty accurate definition of disco as a whole. Guess it isn’t all bad.