Jun 26
AndrewCover Band
I’m a sucker for a good cover band, and ScatterShot was probably one of the better I’ve ever seen. We showed up in time for their second set of the night, complete with a “Sing with the Band” competition (for girls only) and credible takes on Def Lepard’s Pour Some Sugar on Me and Bon Jovi’s Livin’ On A Prayer. A little Billy Idol, Michael Jackson and Journey found its way into the set. They capped off an hour-long set with The Isley Brothers’ Shout. The crowd was more than happy to oblige.
Mar 19
DaraBlues, Jazz, Performance
[Durham, NC] a top show – their album is called ‘Genuine Negro Jigs’ and that’s a pretty perfect description – this show was being broadcast live over a radio station in Chicago – the formal setting of chairs and big cameras and big lights might have made them uncomfortable because all three sat stiff and unsmiling while they were waiting to play – they came alive with a vengeance once they started to play, adding dancing and facial expressions and stories to the music – ended up being an incredibly charismatic band – in addition to encompassing all artistic aspects of the music, they embrace it anthropologically, which is transmitted to the crowd with little spoken bits in between each song – they alternated through finger clackers, dobros, banjos, fiddles, a jug and a kazoo – they encouraged the audience to sing along to their first song ‘Don’t Get Troubled in Your Mind’ – they got their next song ‘Georgia Buck’ from Joe Thompson, an old guy who taught them a lot of what they know – they switched into early jazz with Papa Charlie Jackson’s ‘Your Baby Ain’t Sweet Like Mine’ – highlights: 1) ‘the jug solo’ as Rockboy called it, 2) Rhiannon’s barefoot tap-style dancing, and 3) realizing the kazoo is responsible for that wacky old-timey vaudeville sound
Jan 30
AndrewCover Band
I love a good cover band any day but this wasn’t one.
Totally Inappropriate played two 45-minute sets for the Saturday night bar crowd that got better for those smart enough to keep drinking during the break. Songs like Hey Jealousy, I Don’t Wanna Be were ripped through with abandon – enthusiasm being the only thing this band had going for them.
The bass and drums were too loud, the singer’s voice was drowned out and still terrible (either he couldn’t sing or couldn’t hear himself but the bottom line was painful). Tom Petty got two nods, the Black Crowes and some Red Hot Chili Peppers found themselves on the set.
As a weird sidenote, the lead singer was kind of vulgar with his between song banter. Something about screwing “with your clothes on” and similar such nonsense. Totally inappropriate, indeed. And decidedly unpleasant to boot.
Nov 14
DaraA cappella, Indie Rock, Orchestra
Gorgeous. Not the transvestite stage spectacle and loud queer politicizing I expected, but rather a focus on the music, which is more beautiful and orchestral than I realized from their studio recordings. I finally understand why they’re described as chamber pop. Young cute Canadians – maybe not cute – they were each a little dorky and odd in their own way. The lead singer pleased me with his tall lankiness and dark eyes, and his distinctive prettily quirky voice that warms me like the sound of a well-liked familiar friend. There were two fiddlers, a keyboardist, an occasional trumpeter, a drummer – maybe 7 or 8 people on stage total? Their songs are complicated but hooky, like The Shins but more comfortable. They toy with sounds and their voices and the instrumentation in a sophisticated and sonically pleasing way. They’re often billed as “gay church folk music,” and part of what attracted me to them in the first place was their blaspheming of religious imagery by jumbling it up with explicit homosexual lyrics. While there is something majestic and holy in their sound, the term “folk” doesn’t do credit to their sound. This band and I were meant for each other.
Oct 26
DaraA cappella, Art Rock, New Wave, Prog Rock, Thrash
complex and sophisticated music that was possibly based in Afro-pop or new wave but verged into prog rock – absolutely inventive – lead vocalist/guitarist communicated musical genius to me and I fancy he wrote the songs and what with his crazy guitar skills he couldn’t help but throw a little prog into the music – his voice was also very good… something between Antony and the Johnsons and Elvis Costello and Paul Simon – he was usually accompanied by three female backing vocalists who created a fabric of sweet noises that went from an ethereal drone to a’cappella to screaming – sometimes they would juxtapose their harmonizing almost in a beat boxing fashion so that it created a synthy sound which was amazing – departures from the general sound included the beginning of the set in which the lead guy used an electric guitar in a singer/songwriter style, when he accompanied the black-haired female vocalist in a very pretty jazz vocal, when the entire band would bend over at the waist and incongruously thrash to finish a song (just made me giggle), when the bass guitarist brought out an upright bass which added a jazz feel again to the music, and when the blonde female vocalist took over the stage in a liltingly funky M.I.A.-like song – in other amusing sidenotes, the band generally engaged in anti-cool posturing with the lead guy wearing two massive cardigans, the bass guitarist in an old-school sweatshirt that had some witty saying on it that I forget now, the black-haired vocalist in a plain black t-shirt with a little necklace, etc. etc. – there was also a drummer whom I’m sorry to say I could not see at all
May 02
AndrewA cappella
Okay, when you’re slotted into Lecture Hall C in the Science Center at Harvard University, you know the acoustics and performance space are not going to be ideal. The ‘Cliffe Notes, an all female a cappella group, gamely took to “the stage” at the bottom of the auditorium to perform as part of Arts First Weekend at Harvard University. They launched into fairly rote versions of Love Song and Call Me. Despite the a cappella arrangements, there wasn’t anything particularly novel about their interpretations of the pop songs. Isn’t the point of performance to put your own stamp on it?
As if to prove exactly that, it was the last number, a medley of Abba songs, that not only showcased their vocal talents, but also provided a spark in their performance. Finally, the girls looked like they were loosening up and having a fun time and the arrangements were dynamic and creative. They ended on a high note, literally.
The ‘Cliffe Notes setlist
Love Song
Call Me
Son of a Preacher Man
Abba medley
May 02
AndrewPerformance
The Noteables, a performance group focused on musical theater, were helped by neither the venue nor their songs choices during the showcase as part of Arts First Weekend at Harvard University. For starters, the acoustics in Lehman Hall were painfully stifled, half of the performers were mouthing the words but no one in the audience could hear the sound. A percussion performance in another building pounded its way through the room to compete with the piano accompaniment for the entire twenty minutes.
But even that would have been overcome had the performance itself not been pretty weak. Half the troupe seemed ill prepared for the opening number There’s No Business Like Show Business, as if they had never seen the choreography before. The song choices were particularly strange since half of the songs were tasteless, totally inappropriate for the crowd of parents and young kids like the lament from Chicago, Class, which is mostly a string of vulgar observations. Don’t Be the Bunny was enjoyable, if a little out of context. That left their signature song, Corner of the Sky, which at the least showcased the performers at their best as a group. But considering they were trying to pitch their upcoming full-length performance, this montage seemed really ill-considered.
May 02
AndrewOrchestra
The Harvard Pops Orchestra, led by conductor Allen Feinstein, performed a classical piece, the limbo and an original composition for the showcase as part of Arts First at Harvard University. Feinstein couched the performance as “how a garden hose can inspire classical music” before launching into a version of Limbo with the garden hose as the limbo stick and members of the orchestra performing the limbo. The final piece featured a soloist using the garden hose as a horn. It sounds indelicate, but the entire performance was polished, surprising and thoroughly enjoyable.
May 02
AndrewA cappella
As part of the Arts First Weekend at Harvard University, the Opportunes put on an enthusiastic a cappella set that featured radio-friendly interpretations of well-known songs. The set started with a Michael Jackson medley that included Smooth Criminal and a wicked version of Man in the Mirror. Various players took turns with solos, and Daniel Oshima handled the beat box (apparently more appropriately titled “vocal percussion”) throughout the set. A gorgeous rendition of Heart of the Matter showed both the creativity and energy that the vocal group put into their arrangements, and their version of Forever even featured some dance choreography. They closed with Change in My Life before running out of time because a mariachi band was waiting in the wings for their turn.
The Harvard Opportunes setlist
Michael Jackson medley
Heart of the Matter
Everybody Knows
Forever
Last Name
Change in My Life
Nov 24
AndrewCabaret
Vermillion Lies, billed as sister cabaret, opened for Amanda Palmer. The two sisters harmonized and clapped and played a ragtag of makeshift instruments to great effect. The opened with a little ditty about cutting open Grandfather, then sang the song of the two sisters with Long Red Hair. The songs smacked of Grimm’s Fairy Tales, definitely not the happily ever after kind. They harmonized beautifully, kept up the chatter in between songs.
“What’s in the box?” we were prompted to ask before Blue (complete with a marionette performance). The Astronomer was a dirty song “the solar system really turns me on
I’m floating through your galaxy your milky ways are all over me”. They closed with two romps through Circus Fish and wildly entertaining Global Warming, which got the crowd pumped and chanting along to the refrain:
global warming – it’s hot!
global warming – it’s not cool!
global warming
it’s too cool for school
Jun 29
AndrewPerformance
Carson Kressley was tapped to host the True Colors Tour 2008. His early introductions were peppered with dirty but completely lame, predictable jokes. But as the crowd warmed up, so did his delivery. During the set change before Cyndi Lauper, Carson had a good 20 minutes to keep the crowd spirited, and it was then that his talents brought fore. He managed a number of good jokes on the gays, shot t-shirts into the crowd (including one pulled from his crotch) and interacted with people in the audience. He also found two older gentlemen in the crowd who were getting married after California legalized gay marriage. It was a touching moment crammed between Carson hitting on just about every man that caught his eye. Which tonight was pretty much all of them.
Jun 29
AndrewCabaret, Performance
Cover act cross between the Andrew Sisters and Me First and the Gimme Gimmes. Got a earful of Crazy in Love (Beyonce), Heart of Glass (Blondie) and their finale was Walk Like an Egyptian (Bangles). Also did Boogie Woogie Bugle Boy. Nice voices, 40’s style dresses but my attention wandered two songs in. The crowd was into it more than I.
Apr 29
DaraBlues, Country, Glam, Indie Rock, Performance, Singer/Songwriter
Friend3 and Friend2’s band of four months – they both sing though Friend2 is more Mountain Goats while Friend3 is dramatic rock, Friend1’s ex-roommate is on trumpet, “burner” on incongruent V-shaped guitar, long curly hair on drums, band includes some three other members-mostly brass, so as the vocals/songwriters varied did the music, from witty-lyric silly-voice songs to dramatic rock opera numbers to a rock-medium when both sang together, distinctive diverse band with musical talent, they’re disparate right now plus can’t judge them fairly because I know them
Mar 14
DaraCabaret, Gypsy, Jazz
the fantasmous band, all hoppy and Charlestony with the 7 foot man in short pants as their lead singer, they’re not meant to play outside – better in an old bar with wooden floors!
Feb 14
DaraCabaret, Country, Jazz, Latin
so good that I was in continuous state of body prickles and it wasn’t only because of the horror of the previous band, one of the most charming and engaging bands I have seen in a long time, in large part due to the charismatic lead singer – a pug girl with a shock of blonde hair and a puppy dog enthusiasm and energy, she sang in an old-timey cutesy voice – kind of playful but high high quality, she verged on insane – jaw bracing, eyes darting – and I kept waiting to see a dark side but she maintained this tremendous aura of joy and quirkiness before, during and after her set, she also played guitar, the violinist was fantastic – a wispy near-severe former gothic woman in a red satin dress and ripped arms – purportedly one of the best in town, the positive interaction between the lead singer and the upright bass player when leaning in to share the microphone also built the appeal of a band that enjoys each other and enjoys what they’re doing, mostly old-timey swinging jazz and country songs, cute lyrics, one Spanish guitar song, one more modern-sounding song that reminded me of CocoRosie, the girl has it is my point
Dec 29
AndrewCabaret, Indie Rock
The Dresden Dolls came out for the Winter Tour to close out 2007 (and on New Year’s Eve in NYC). Their Boston date was supported by Meow Meow and Luminescent Orchestrii, as well as an art house performance by members of the Lexington High School Drama Troupe. Opening with a back-to-back raucous versions of “Girl Anachronism” and “Missed Me,” the songs set the tone for a wild romp through mostly early tunes. The Dresden Dolls are never dull but there was something surprisingly normal about the whole affair. Mostly lacking the “cabaret” aspect of their performance, this was a straight rock ‘n’ roll concert.
That didn’t stop the audience or the duo of Amanda Palmer and Brian Viglione from enjoying a frisky race through some well-worn hits like “Coin-Operated Boy,” and some lesser played tunes like the gorgeous “Ultima Esperanza” and “Boston.” They invited Sxip Shirey to play a searing cover of “You Gotta Fight for Your Right To Party!” and closed out the show with the entire Luminescent Orchestrii on a cover of the iconic Eurythmics hit “Sweet Dreams Are Made of This.”
Despite having a cold which caused Amanda to have problems with some the notes, there wasn’t a dull moment in the set. Amanda even spent some quality time in each corner of the house, moving through the audience and Brian spent a chunk of time handling guitar and drums at the same time and also took lead vocals on “Fight For Your Right” with Amanda on his drum kit.
Dec 29
AndrewGypsy, Performance, Punk, World Music
Luminescent Orchestrii gypsy rock music with international influences. Four performers guitar, violins and bass that rocked out to mostly foreign-language tunes that ranged from a Yiddish waltz to old French folktale. Sxip Shirey, who jammed a variety of guitar parts, also acted as the MC for the night. Their performance was part jam band, part Bar Mitzvah band, a touch of tango, beat boxing and a heck of a punk attitude. All four took vocal duties at various times. The two ladies, Rima Fand and Sarah Alden, handled most of the harmonies and bassist Benjy Fox Rosen only lead on the mic was on in Yiddish. The energy level was otherworldly.
The band brought out Dresden Doll Brian Viglione for two numbers, and Meow Meow and Lance Horne could be seen waltzing in the background.
Dec 29
AndrewCabaret, Performance, World Music
Meow Meow opened the show in the audience, making her way in full winter gear (with luggage) to the front of the stage, taking an assist from the house crew to get on to stage. She then proceeded to introduce herself and undress, one piece at a time, with the help of men from the front row. Sitting almost dead center, I was asked first to help her out of her winter coat while she talked to the audience holding her mic. It was challenging because she was wearing mittens and I was trying a) to not touch her inappropriately and b) not pull her mittens off with her coat.
After depositing her jacket on the stage, she asked me to help her out of her pants. Yeah, I admit, I thought she was kidding. She bent over in front of me and then turned and asked, “Have you ever undressed a woman before?” Then she bent over with her head around her ankles. I grabbed the zipper, without ever touching her body, and then was urged to pull down on both sides of her pants to bring them down around her ankles.
At which point, she continued to struggle out of items of clothing with other people in the front row. “The male dancers usually do this,” she told the crowd while wrestling out of a vest.
She asked on lady to be her mic stand. Then, she got not one, but two members of the audience to snuggle with her on stage while she performed. She later corralled a third person out of the audience after he shouted at her about something. She said something to the effect of “It’s really easy to be shouting out when you’re in the dark” before she got them to raise the house lights. So three people draped around her (and she continually moved their hands around so they were touching her rather intimately.)
Her entire set was only one song. She was accompanied by keyboard player Lance Horne (an accomplished musician in his own right.) It was cabaret and opera, mostly in French. She wailed and belted and crowed and engaged the audience without ever missing a beat. When she wanted the help of someone in the audience, she would admonish them “Quickly!” and even once switched to German, “Schnell!”
Finally, calling out to Horne, she asked how much time she had left. “I have to get through one song. It’s on my contract.” After determining there was 5 minutes left in her set, she decided she had enough time to crowd surf. She started out on the other side of the stage but decided that half the audience wasn’t a good bet and came over to our side.
I’ll admit, I still thought she was joking. Even after helping her out of her knickers, I guess I should have known better. She made a grand show of it, even asking to young men in the third row to fill in a gap so that she could make it passed the first few rows. Then she leaned out and “floated” (term used loosely) her way to the back of the house, all the while, gabbing with the audience and finishing the tune.
As remarkable as that fact was alone, even more unbelievable was that for most of her crowd surfing, she was sitting straight up with her legs split. The crowd supported her (mostly) all the way back to the stage where she collected her things and departed.
Aug 09
DaraPerformance, Punk, Thrash
the best show I have ever seen in my life—which totally slams any pretense I had to musical integrity, so three “farmboys” that played hard and fast, waiting for their lead singer, he comes to the stage wasted in an eighties straight-boy outfit, swaying, he proceeds to jump off the stage into a trashcan and the show descends from there into total debasement, he divebombs all of the trash cans—rolls around in them—bumps into audience members—humps trashcans—rolls on the ground, non-stop awesome rock-and-roll entertainment, the crowd is disgusted but entranced, keep waiting for him to just collapse but he really never loses the song except for when he loses the microphone—delicious to think of the band’s fury, his back is bleeding by the end from the broken beer bottles all over the ground, disappointing denouement though was him back in the crowd after the show in shorts and t-shirt and appearing sober—so perhaps it was all just a show
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