Muse
Hammerstein Ballroom, NY
August 3, 2006
Review and Photo by Chris David

After suffering through a truly dreadful set by The Cloud Room, Muse exploded on stage like a thousand fireworks going off at a fourth of July finale. I would have bet my last dollar they'd begin their set with "Take A Bow," the first song from their stellar new disc, Black Holes and Revalations, and I would have been a winner. It was the perfect opener, triumphant and soulful, the proper Hors d'Oeuvres to commence the musical feast. Muse blazed through cataclysmic renditions of "Starlight," "Supermassive Black Hole," "Invincible" and "Assasin," all from their new CD. They also intermixed songs from past releases, but the material from the new album really out shown any of their previous work exponentially. Matt Bellamy, the slightly demented musical genius, was in exceptional form, switching between guitar, piano and that funky glowing Theremin type gizmo he has attached to his guitar, (it's actually a Zvex wah effect). Vocally, Matt was also spot on, (he sang so well, it made me wonder if he was lip synching...he wasn't).

The comparisons to Coldplay, Snow Patrol and Queen are self-evident but perhaps only skin deep. Muse approach their music from a classic orchestral direction that the others, except for Queen, barely touch upon. Rock venues can sometimes mute the presence of such a complex sound, but this evening, Hammerstein Ballroom was able to capture and project Muse's symphonic majesty tenfold. All in all, Muse was mesmerizing. Even the oddly pseudo normal collegiate crowd was rapturous.

Black Heart Procession
Bowery Ballroom, NY
July 31, 2006
Review and Photo by Lance Smith

The feeling was intimate under the faintly red lit stage where sunny San Diego's Black Heart Procession swooned the crowd on a muggy night. I came to the show alone (or "stag" I should say) and would later regret it under jealous envy towards all the eye gazing couples who showed up for the event. I looked around for a possible romantic acquaintance, but my options were severely limited to a girl who suspiciously resembled Danny Devito? Or young mustachioed guys with cigs behind their ears? Yes, it seems the BHP has a knack for creating a date friendly romantic atmosphere and they played on this by pulling the crowd into their set with some new songs off of their new release The Spell. The new songs have more percussion than their previous releases and this certainly showed through the nodding heads and slight guarded hip swaying seen across the floor or during the salsa flavored "Tropics of Love".

"This is a quiet heat." The well placed words of handsaw-playing guru and frontman Pall Jenkins said between song half way into the set. True, the silence even between songs was only interrupted by soft claps, an occasionally hoot, and maybe even some slightly audible sweet nothing whispers. The definite crowd pleaser was the upbeat ballad "Not Just Words" or "The Spell", where Pall put down his guitar to take the mic in hand while Tobias Nathanial buried his eyes into a sound wall of impenetrable organ. The new material was a nice change from their older, more sobering tracks, but I was anxious to hear some of those hauntingly beautiful tunes and was finally rewarded with "Blue Tears". The tearjerker sent me into an abyss of past hopeless romanticism and when the song ended, I glanced around and couldn't help but think about the impending heartbreak and foreboding loss in each pair of clasped hands and coupled arms.

Cities
North Six, Brooklyn, NY
July 19, 2006
Review and Photo by Chris David

Cities have the uncanny ability to drive all the way from Chapel Hill, NC to NYC, be stuck in traffic for the majority of the trip and miraculously pull up to the venue just as they are supposed to load on stage. This was the first stop on the band's tour and unfortunately someone forgot to tell New York that Cities was here tonight. Playing to an unusually sparse North Six audience, Cities gave it their all and thankfully played a full set, including all of the hits from their self-titled Yep Roc debut. "Capitol", "A Theme" and one of my personal favorites, the Thom Yorke inspired "Lakes", were as lofty and inspired as if played to a house that was standing room only. This show was a good warm-up to what I am sure will be many sold-out performances through out the rest of the tour. Josh's signature falsetto croon was in top form, their now not so new bassist has situated himself well and the rest of the band was also locked in. Cities have all the necessary elements to displace the Stills in the running to be the next Interpol. (Oh yes, I forgot, the Stills took themselves out of that race because Broken Social Scene told them to). Go see Cities on this tour, while you can still get into their shows.

Controling The Famous
North Six, Brooklyn, NY
July 19, 2006
Review and Photo by Chris David

LA's Controlling The Famous hit the sweaty, humid, downstairs stage at North Six for what was to be the bounciest set of the evening. Max and the rest of the band appeared to have been commissioned by the NYFD to test out the structural integrity of the plywood, over two by four, stage... Mission accomplished -- with ever increasing veracity as they played on. Luckily the crowd was on solid concrete, if not, we would have all taken a quick trip to the North Six sub basement, courtesy of the crowd's enthusiasm. Hopping through the majority of songs on their latest disc Automatic City, including a blazing ode-to-Wire rendition of CD opener "Detox", "Highway Parking Lot," a rhythmic/melodic feast for the senses, (hey, they are from LA) and the tongue in cheek "Easylife." CTF live present a unique sound, mixing the edgyness of Wire, the drums and bass grooves of Gang of Four alongside a postpunk Fugazi legacy . I walked away from the show with renewed faith that there still are excellent bands out there that don't need to play into the dirty hype machine, and just throwdown a fantastic set of live songs for their audience!

The Strokes
Hammerstein Ballroom , NYC
March 3, 2006
Review Madeline Virbasius-Walsh Photo by Chris David

They are a few years older, wiser and less drink-fueled, but The Strokes have still got it, and now, it's nice to see they are finally enjoying their accolades. Any past signs of weakness from their Room on Fire tour and release have been erased and the band is back with First Impressions, re-conquering their hometown as the indie kings of New York, gone major. From their Bauhaus-inspired intro, to Fab's hammy finale, (including faux strums on Nick's guitar), this was a dramatic night that kept even the most jaded VIPers on their toes and in tune with the band's every move.
It's hard to believe Julian Casablancas has evolved into a guy who not only enthusiastically thanks his audience between songs, but sounds like he means it. He even takes one step further, proclaiming, "We all love you" after the band plays their encore hit, "Take it or Leave it". Tossing aside his past AM-radio vocal effects for a more emphatic, gutteral rock voice, Julian's role as frontman/songwriter/ringleader is now decidedly apparent. His days of acting the nonchalant, barely-audible singer staggering across the stage with a beer in hand are long gone.
The Strokes obviously put some time into their set list, giving the audience a perfect mix of Is This It-era hits, First Impressions favorites, Room on Fire keepers, and even the Ramones cover "Life is a Gas", which they of course managed to make their own. "Hard to Explain" and "Last Night" are still the biggest crowd pleasers, but new standouts like "Vision of Division" were wailing rockers that nearly brought the house down. It's great to be Stroked again!

Cities
Fixx Cafe, B'klyn
April 14, 2006
Review & Photo by Chris David

Cities, a new band from Chapel Hill, North Carolina, graced us New Yawkas with three shows over the Easter weekend. I managed to catch their show at Fixx cafe in good old Williamsburg, Brooklyn. Even with the the crowd being a bit sparse, due to the show being 5pm on good Friday, the band put their all into the set. They blazed through excellent renditions of "Capitol," "A Theme," and "Lakes." As usual, the sound at Fixx was less than stellar but even with a sub-par PA system, Cities lit up a rainy afternoon with their high rise melodies. For those new Cities dwellers, the band's sound drifts between Interpol, Radiohead with a little Clinic thrown in for good measure. Try and see this band as soon as you can; I worry that one day soon, Jeremy is going to smash Josh in the back of the head with a wildly enthusiastic swinging bass headstock.

Dub Trio
Mercury Lounge, NYC
April 15, 2006
Review & Photo by Chris David

Dub Trio, the name pretty much says it all, doesn't it? I think not...Yes, they are a three piece and yes they rub-a-dub-dub, but their show at Mercury Lounge confirmed there is so much more to this band than dub. For starters, they are ahem...instrumental. This is usually a turn off for the close-minded, too cool for school hipster contingent and okay, I am not thrilled by most instrumental acts either... But converted I was, after the first song. Aggro, proggy, dubby, jazzy, indie rock, and "metal" all in one breath. The aggressiveness of their intros made we wish my friend Nick and/or Josh Homme were there, they would've loved them. The dub was deep and soulful, the rock was incendiary, the guitars soared on lofty zephyrs one minute and then barked the next. The bass thumped and grooved me down to the core. About half way through their set, one dub suddenly made me feel nostalgic, I wanted Joe Strummer to be alive again and hear him sing "We don't need no gang war" with Dub Trio. Anyone who calls themselves a musician needs to take in a Dub Trio show EXCEPT if you are a drummer. After seeing what Joe Tomino does with a drum kit, a pair of sticks and an affected mic, you WILL give up playing drums. See Dub Trio live and be inspired.

The Raconteurs
Irving Plaza, NYC
April 7, 2006
Review & Photo by Chris David

Yes you all should be very envious since I had the privilege of seeing the first North American show of the Raconteurs. For those not cerebrally hooked into the grape vine of cool, the Raconteurs are Jack White's new "side project".

Jack was accompanied by four Detroit brethren on stage, including long time friend, Brendan Benson, Brendan's touring keyboardist Dean Fertita, Jack Lawrence and Patrick Keeler, respectively, drummer and bassist for the Greenhorns. Throughout the show, Jack was a fireball of energy bouncing his ample frame to and fro while Brendan played the subdued pillar. It was a nice mix of energy and vibe, complete with a beautiful high Victorian/Old West-lettered backdrop and five foot high, hanging, pyramid lights. The Irving Plaza stage looked like an intimate old-style theater, courtesy of the Raconteur props.

The band threw down from the first song, starting off the set with the pop hit "Steady As She Goes," which got the crowd rocking and reeling in short order. Following up with an ode to Led Zep, "Broken Boy Soldiers," a psychotic bluesy song entitled "Level," in addition to "Store Bought Bones," "Hands" and most of the other songs from the debut.
The Raconteurs hypnotized the audience, with all the power and volume of a German Blitzkrieg. The band is said to already be talking about album two, which means this is more than just a group of bored musicians trying to fill off-tour time.

Three cheers, hoorah, hoorah, hooRaconteurs...A supergroup that may live up to the name...

Hard-Fi
Warsaw, Brooklyn
April 1, 2006
Review by Andrea D'Alessandro
 
 The West London four-piece took over Williamsburg's Warsaw (also interestingly know as the Polish National Home) and wowed a sold out crowd with their dancey, ska-tinged rock.  Their debut album Stars of CCTV is already becoming a classic, and has risen to the top of the charts in the UK, while Hard-Fi slowly stake their claim in the US on their third trip back.   

Frontman Richard Archer was overflowing with charisma and blue-eyed good looks, and as soon as he took the stage he was in charge, charming both his audience of rowdy Brits and pacified Patriots.  He and the band ran through most of the album, and hits like "Cash Machine," "Tied Up Too Tight" and "Hard To Beat" were wow-worthy.  Their daring cover of the White Stripes' "Seven Nation Army" was an added bonus.  As the night waned down and Brits linked arm in arm shouting football chants and a sweaty, alcohol-induced audience gave their all, it was clear that Hard-Fi will be back to continue their domination of the US.

The Flaming Lips

COMING SOON

Supergrass/Dirty Pretty Things

Though The Libertines may now be a memory of the past, (or, um, last year), it was obvious that Carl Barat wouldn't fade away for long.  Barat was prepared to show his legions of followers that he's ready to propel himself onto the scene once again by hosting his popular "Dirty Pretty Things" club night. 

Although rumors spread that Barat and his aptly-named band Dirty Pretty Things would perform, unfortunately that didn't happen tonight.  Instead he could be spotted backstage with his entourage, wide-eyed and unwithered, as a slew of acts performed and gave London a knock-down, drag-out club night. But the night wasn't too shabby. The "it" venue of the moment KOKO (formerly the Camden Palace), the monstrous Victorian theatre dripping with red walls and gaudy decadence, was the perfect venue for this quintessential Camden Town night out.

Barat got a little help from surprise headliners, a little Oxford-based group called Supergrass.  The Britpop legends played all their classics, from "Pumping On Your Stereo," to "Moving." It was a one-off set that showcased the fact that Supergrass have been the pillars of British music for the past ten years.  There was little emphasis on the new album, Road to Rouen, aside from their first single, "St. Petersburg."  Art rock-punk rock devotees Faye Raye and M.A.S.S. followed with their mish-mash of gritty, girl-fueled rage rock, but these kiddies weren't able to match that of the mighty Gaz and co.

Black Rebel Motorcycle Club
Irving Plaza, NYC
September 26, 2005
Review & Photo by Chris David

As I perused the BRMC crowd, the one thing that stuck me was that their audience had drastically expanded since previous Black Rebel tours. Not gone, but relatively hidden were the cool underground indie music fans, much like myself (ahem), who had made up the core of BRMC punters at shows past. A multitude of fratty types sporting reversed baseball caps and oversized hakama-like trousers, alongside hardcore biker dudes, were now in the majority, (Nick from the Strokes was also in attendance, just to keep things balanced). Regardless of the audience make-up, all were enthusiastically enjoying the visceral wall of sound created by Peter, Robert and Nick.

After hearing Howl, BRMC's third studio release, I was curious to see how the band would interweave songs from the Jesus and Mary Chain-tinged first BRMC album and Take Them On, On Your Own with the gospel/dark bluesy sound of Howl. My question was answered when Peter walked out on stage solo, hair slicked back Johnny Cash style, and began strumming through three emotionally filled acoustic songs from the new disc. He poured his soul all over the audience.

Soon after, joined by Robert, Nick and Frank, (tour guitarist), the band unleashed it all, full power. It was perfectly timed, since some of the bruiser types began to yell, "plug it in." But this latest incarnation of BRMC is very different from the band in past years. It is almost as if a layer of blackness has been peeled back or has become more transparent, and what we are seeing now is a truer version of what the band had always wanted to do. BRMC have matured musically and have revamped some of their older songs in the process. Soulful blues rock Americana doesn't begin to describe their new live sound.

The Orion Experience Mercury Lounge, NYC November 5, 2005

Before seeing the five-piece band Orion Experience, I had zero expectations considering I had never heard their music. I was immediately thrown off guard by the seemingly arbitrary collection of musicians on stage, who somehow successfully managed to work together to achieve a common goal. The members appeared extremely relaxed, unpretentious, and all about having fun, which actually was quite refreshing. I appreciated their boldness to embrace such a carefree and positive attitude, especially in an industry filled with sneering and relentless skepticism. They were masters of displaying their brand of tightly packaged radio-friendly ditties (as heard on MTV's Laguna Beach), but at times they suffered from sounding far too banal. Moreover, they continually felt the need to forewarn us that they were "about to get funky." Regardless, they definitely had their moments of infectious hooks and fervent melodies, reminiscent of the B52s and Fountains of Wayne. For better or for worse, I felt as though it would have been the perfect accompaniment for the score of Dumb and Dumber. The potential is there for the Orion Experience, and I have no doubt they will eventually find the right niche which will allow them to flourish. --Clint Stewart

Kaiser Chiefs w/ The Cribs
Webster Hall, NYC
July 21, 2005
Review by MVW/Photo by Chris David

My, how they've changed... the Kaiser Chiefs' audience, that is. Selling out Webster Hall is no mean feat and tonight's show, filled with swarms of collegiate types and fun-loving teens, proves that the band has indeed won over the American masses. The Chiefs keep the momentum pumping at an almost inhumanly energetic pace and have an uncanny ability of making even the most blase VIP-lounger instantly transform into the band's number one fan. That talent, along with their constant barrage of live hits, is just part of the reason for their wide-reaching appeal. Singer Ricky Wilson's undeniable charisma and charm is also key. "New York, you're too kind", is his humble, yet coy reply to the deafening applause following "Na Na Na Na Naa" early in the set. He adds, "If this isn't the best night of your life, I'm not doing my job properly." Moments later, he turns serious and dedicates "Everyday I Love You Less and Less" to "the idiots in London", (a solemn reminder of the terror threats which had hit London earlier that day). Wilson certainly knows how to rally a crowd, and it seems the months of constant touring have made him even a smoother "player" than he already was. By the time the Chiefs take a moment to slow down their set with the waltzy "You Can Have It All", Wilson has already scanned the front row for an adoring female fan in pink and proceeds to lift her onto the stage for a close slow dance which lasts the entire song. It's a memorably sweet moment that has quite a few in the audience choked up. The Chiefs have definitely grown into one of the best of the UK's polished pop acts, but luckily, it seems they haven't grown jaded. Tonight's incredible show proves that they haven't lost any of their joie de vivre.

Yorkshire's The Cribs are a different kind of band. Their live set may not have the polished perfection of the Chiefs, with songs that often seem on the verge of breaking down in that Libertines way, but they are certainly not lacking in party-atmosphere performance style. When played live, anthemic hits such as "Hey Scenesters" take on a rock stomp that can't help but grab your attention a few notes in. Though The Cribs seem a bit more comfortable playing venues that allow for more audience participation, such as The Mercury Lounge (where I saw them a few nights before), the catchy drive of songs like "Mirror Kissers", as well as Ryan's clever between-song quips, definitely won them more than a few new fans tonight.

Ok Go
Pier 54 NYC
July 21, 2005
Photo and review by Kristina Baranovich

Ok Go took to the stage Thursday night as if to the sound of a starter pistol. They were rocking away before anyone was quite sure who they were, switching between songs from their upcoming release and old favorites off of their self-titled debut. The sound is infectious and giddy. Rock and roll played the old fashion way, with a little pop and a little bang, and Ok Go were up to task. I wasn't expecting much from the boys, but I got my trepidation served to me on a silver platter. The band roared through their songs and pulled into the station for a cover in the middle of the set, a Violent Femmes number with a punk inflection and some boy band aplomb, which even drove front man, Damian Kulash to climb up onto the speakers. His fellow bandmates, unable to hide their own shock, turned to consider him along with the crowd of bobbing heads. There was an audible intake of breath and Damian came crashing down, never missing a beat, rolling right back into the third verse. In my opinion, this show was more then (cough,cough) okay.

Billy Corgan
Webster Hall
June 27, 2005
Photo and review by Madeline Virbasius-Walsh/Chris David

The stage at Webster Hall seemed transformed into a fabulous fashionista party at NYC's Tunnel Club circa 1990 tonight, all gleaming white, with a wraparound backdrop resembling millions of highly-polished shower tiles, keyboard, drum and microphone stands resembling art nouveau pods found inside some chic space traveler's lunar module. When the perfectly-designed futuristic lights came up and Corgan and his band of three took the clinically-bleached out stage (the guys wearing coordinated neo-militaristic, Prada-esque outfits, the keyboard gal wearing sexy techno goth gear), you already knew you were going to be in for a spellbinding experience. Though the songs on the Future Perfect album didn't hit me as utterly memorable when I first heard them, experiencing them live is another thing altogether. The show was a spectacle. Even the beautiful guests in the crammed VIP balcony were standing at attention, jaws dropped and in awe of Corgan's quiet genius unfolding before them.

Some may be disappointed with Corgan's new "more subtle direction", which brings together musical influences he holds dear, from Low-period Bowie, to early Joy Division and New Order to the Chicago electronic Wax Trax underground (as well as bands like the 80's Nitzer Ebb, etc.). However, any good song writer deserves a little exploration into different musical territory. Since Corgan had been part of New Order's touring band a couple of years back, it's no surprise that he would want to try his own version of epic, emotional electronica this time around. This show, with its myriad of color and feeling, designed for "intimate venues" such as Webster Hall, was one that will be sure to linger in the audience's collective memory.

Shout Out Louds
Bowery Ballroom
Jun. 11, 2005
Photo and review by Kristina Baranovich

On a hill above a sleepy town, plumes of sweet smelling, purple smoke is escaping from the stacks of a factory. Inside conveyor belts of little white frosted cakes, with cherries on top are floating by in a never-ending stream. This is pop-rock; a delicious confection that mixes head bopping beats with rock guitars, swelling synth keyboards and heady drum lines. Sweden's Shout out Louds emerged from the factory on a Thursday night to open for The Dears at Bowery Ballroom. And except for some settings like talking and moving, that were left on default; the show was yummy.

Surprisingly, SOL didn't open with their hit, "Very Loud", but instead a synth-pop ballad that would have put the audience to sleep if it hadn't been followed by "Shut your Eyes," a funky little riff that has a drum gallop to make die hard Sabbath fans want to dance around and giggle. The whole band dug in for this one and didn't look back. Adam Olenius was joined at the mike by bassist, Ted Malmros and second guitarist, Carl von Arbin most of the night. Adam with his dry, impeaching croak and the back up boys coming in with foreign inflected harmonies. It was enough to get the usually stoic New York crowd bobbing their heads and standing at attention. Although, it could also be that they were transfixed by SOL's resident proud momma Bebban Stenborg, who ruled over the keyboard and xylophone roost with a captivating tranquility. Hardly moving her lips as she sang along, swaying enough to still be alive up there.
Musically, the band left nothing to be desired. The pop was popping in all the right places, but one got the feeling the boys and girl were something akin to humbled. The way Adam nervously fixed his hair, once and then again, as if he'd forgotten they were now a big draw band playing a New York City venue. Even the way he mumbled the song titles before launching head first into a tight, but stony rendition of their sweet and sour tunes. Some more time off the conveyor belt might allow them to look as happy about playing their music, as the audience is to hear it.

Bloc Party
Bowery Ballroom
April 8, 2005
Photo and review by Madeline Virbasius-Walsh

"New York's been very kind to us," says Kele, charismatic singer/guitarist of Bloc Party. Indeed it has. It seems the pond separating NYC from London has grown ever smaller this year, since bands that are deemed "hot" in their native UK are simultaneously sought out and applauded here. Bloc Party's two-night stint at Bowery Ballroom this April was of course sold out. It's a sign of the times.

Bloc Party's crowd has evolved and enlarged at seemingly lightning speed. Their first show here drew a perfect crowd of in-the-know hipsters, and now, the audience tonight is filled with so much more: college kids, parents escorting their kids, English expats, frat boys, and of course, the Brit-rock loving NY crowd that knows not to miss this band. Guitarist Russell and bassist Gordon are the perfect foil for frontman Kele and frenzied drummer Matt. Their self-conscious, shy/cool demeanor onstage is an interesting contrast to Kele's infectious good humor and obvious love of performing.

Kele simply states, "This is our hit" and the band starts in with"Banquet" amidst thunderous applause, just a few songs into the set. It's rare to find the usually staid NYC audience all bursting with what is sheer joy at hearing one of their favorite songs of the moment. There is instaneous dancing and even hands clapping overhead, not something you see at Bowery Ballroom all that often.

Even with the near-dangerous moment early on, when Kele apparently tripped over Russell's effects pedals during the new song "Buried Alive" and almost went down, there was nothing that could have stopped this show from creating a nonstop feel good party atmosphere throughout. Even after the last encore song had been played (one of the best of the evening-"The Answer"), the band kept the show going by pretending to start smashing their instruments on stage. Kele picked up Matt's kick drum and held it overhead, then laughed, "We're Bloc Party, we're kind to our instruments" and put it back down gently as they all left the stage.

When Kele announced that the band would be back soon to play Webster Hall, it was comical to hear the crowd exclaim, almost in unison, "Webster Hall sucks!" When he asked where they would prefer to see Bloc Party next time, some replied "CBGB's." Bassist Gordon laughed and said "Madison Square Garden!", and then Kele looked up toward the balcony saying, "hear that, record label people? They want CBGBs." However, try as they may, the plans for their next NYC appearance were probably made long ago since Bloc Party will next be appearing on June 14 and 15 at Webster Hall.

The Cloud Room
Rothko
April 5, 2005
Photo and review by Chris David

The Cloud Room had their record release party at the fantastic Vicious Party, held at the club Rothko. I was pleasantly surprised to find the venue uncharacteristically packed for a hometown band event. My hopes were soon dashed when I realized that Mark Gardener of Ride was on stage at the very moment of my arrival, which appeared to account for the lack of inhale space in the club.

As The Cloud Room took the stage, I was pleased to see that a generous crowd remained, (which is not usually the case after a well known act finishes an early set). The Cloud Room, very capably, played through the material on their debut; set highlights included "Blackout," "The Hunger" and "Hey Now Now." In addition to their own material, the band offered us an excellent cover from the Kinks, "from Boston," quips the band from the stage.

I had attended The Cloud Room's less than stellar performance at this year's SXSW Fader day party. Technical issues and tuning problems plagued the band during that outing so I didn't feel that their Austin show was a good representation. Tonight's performance was markedly better.

There is no denying the infectious sing-a-long nature of a track like "Hey Now Now." When I first listened to The Cloud Room on disc, this track jumped right out of my stereo speakers and exclaimed, "I am a really great song;" (think golden god Billy Crudup in "Almost Famous"), and it translates live even better. Choosing to end their set with this leads me to believe that the band realizes that this is their "it" song. As the band closed their set, the crowd roared with their approval as well. All signs point towards this track being a certified hipster hit. Throughout the band's set tonight, there was something vaguely familiar within each of their songs, which is a good thing. There was a sprinkle of Ian McCulloch, a touch of Lou Reed, a pinch of Julian Casablancas, and so on. This should work well for the band; the too-cool-for-school New York audiences that we all know and love sometimes need a roadmap to find the good stuff.

The Cloud Room are a young band with a lot of potential. Taking a couple of breaths to work out their live shows, so as to be a strong companion to their song writing, and eliminating the unnecessary, sometimes goofy, between-song banter, will go a long way in turning potential into fame and fortune.

Graham Coxon
Bowery Ballroom
April 1, 2005
Photo and review by Chris David

"Tonight is about vampires...vampire rabbits..." Says Graham...Mr. Coxon put on one of the best "anti-rock" shows I have seen in a long time. There is no debating Graham's talent, his guitar playing is exceptional, but not in the "guitar hero" traditional sense. He tastefully accents where necessary, but resists the temptation to overplay. Graham also has a very enjoyable, stylized singing voice. Add that to the fact that he also writes great songs and you have an unbeatable musical combination. Graham has just released his fourth "solo" record Happiness in Magazines, (reviewed in Sentimentalist issue 17), from which he pulled most of the material played for tonight's performance. Some notable gems were "Spectacular," "People Of The Earth," "The Right To Pop" and of course, "Freakin' Out." "Anyone ever hear of Roger Miller?" I think Graham was pleasantly surprised at the crowd's reaction to his nod to Mission of Burma, the fantastic cover of "Fame And Fortune". He also previewed three new songs slotted to be included on his next record. These newest songs were a bit more up tempo/aggressive than the majority of the Happiness material. This just showcases Graham's ability to stray from his roots and then return without making you feel that he is going around in circles.

From the stage, Graham interacts with the audience on a variety of levels. His quick wit strikes back hard and true to fan commentary about Oasis. He remarks to one of his band mates, "forget what I said about intelligence," an obvious verbal volley in reference to his feigned disgust at the crowd's feeble attempts to "heckle" him. Graham also comes across as a nice guy. In the middle of the performance, a member of the audience apparently fainted, and Graham was the first one to throw his unopened water bottle to the ailing person while attempting to get the attention of the security personnel. I can think of many a band that would choose to ignore the situation and let the club handle it.

This show firmly cemented in my brain that Graham Coxon is no longer, (or maybe never was), "the ex-guitarist from Bl*r". Graham Coxon is himself an artist of unmistakable talent and depth, who deserves to be known for his own efforts instead of an "ex-anybody." Graham live is simply put...brilliant!

Crooked Fingers
Bowery Ballroom
March 26, 2005
Photo and review by Chris David

Another sold out show at Bowery Ballroom, and this time, it is the folksy rock project known as Crooked Fingers. When the Archers of Loaf disbanded, Eric Bachman took a decidedly different bend on "indie" rock and the ravenous crowd at Bowery tonight is evidence that this direction has struck a chord in their hungry hearts. Crooked Fingers has always dug deep into the wells of the three "D's:" darkness, despair and drunkenness. White trash backyards littered with hub cabs and old rusted out Chevy pickups, the smell of toasted almonds, fermenting brine, and the sounds of compressed air escaping copper pipes is brought to the stages of this, the coolest of NYC venues, Bowery Ballroom.

Decidedly, Crooked Fingers has continued to evolve their sound. Trumpet, lap steel and flute have all taken a front row seat on the new recordings and live, this instrumentation just adds to the already professional, yet carnivalesque nature of the band.

Having listened through and through to Dignity and Shame, I was curious to see how the album's Spanish theme was going to translate to the live stage. My answer was clearly evident midway through the set, in the fact that the older material intertwined seamlessly. Trumpet can be downright obnoxious when piped through a club's PA, but not tonight. The horn sounded sweet and lilting and full of soul. My only criticism was the flute, which seemed a tad bit superfluous at best. Overall, the instrument and the player were a bit distracting. But seeing as the player was female, she did make a nice foil to the gruff-looking, bearded men on stage.

The crowd ate up every morsel of down-home-cooked music Eric and the boys dished out. It is refreshing to see a band that doesn't necessarily have "the look" play a show in NYC and attract such a devoted following. There is something to be said for looking at cute boys in makeup and scantily clad kittenish singers, but in my book, when you have the talent, the songs and the street credibility, that is all that is necessary to being true genre icons. Tonight's show makes you appreciate what real songwriting is all about.

Queens Of The Stone Age
Webster Hall
March 24, 2005
Photo and review by Chris David

Some people are born cool, others are born ignorant; the later don't realize they have no chance of ever crossing over, no matter how hard they try. Cool is formed from the inside out. It is not the manner by which you dress or the choice coiff you are sporting this month, cool is an essence. A man by the name of Joshua Homme, (like Tommy), fits the former definition to a "T" . I am sure if he was reading this, he would think it all woosy stuff but the truth be told, Josh is what "it" is all about. A six foot five figure in a T-shirt, jeans, (with a towel hanging out of the back pocket), playing a guitar in a band by the name of Queens of the Stone Age is all that is needed to prove the point. Rock is here to stay and "rock" is what Queens of the Stone Age did at Webster Hall.

The band started out the set backlit behind a white translucent screen as the crowd was going insane. The floor was bouncing up and down under the weight of the audience. The Queens ripped into their set in the signature subtle aggressive manner. Josh exclaims, "You all want to hear some new shit." Pulling out a rousing reaction from the already writhing mob. In front of the lights, the band looked like a demon seeping out of the desert. The first thing that comes across at a QOTSA live show is the melody is not overshadowed by the heaviness. New songs like "Little Sister," "Lullabies to Paralyze" and "I never came, (per Josh, this one is for the chics)" sounded full of soul, rage and demon serum. The old favorites were here too. As the night wore on, the audience was building intensity capable of blowing the lid off of Webster Hall. By the time the set capped off with blistering renditions of "Go With The Flow" and "First It Givith" it felt like the balconies were about ready to tumble down on the crowd. The swirl of showgoers, in the center of the hall probably wouldn't have even noticed.

The Queens are the real deal, no futzing about with stuff that doesn't matter, just the music, the band and the energy of the fans. If you liked the Queens of old you will love the new release. Long live the Queens...!