Oh my goodness. I think on the boat ride over here from England, Paul Simonon dunked his head into the Atlantic, ripped up the trans-Atlantic cable with his teeth, and then used it to string his bass guitar. The man was slinging some deep bass at the 930 Club earlier tonight. Simonon’s monster bass chords were one of the many thrills delivered by The Good, The Bad, and The Queen.
What could have easily been written off as a vanity project of Blur’s Damon Albarn, GBQ have been proving naysayer’s wrong since their debut album hit U.S. shores a few months back. Tonight’s performance was one of a limited U.S. tour that displayed such musical excellence and natural joy for music that if there are any doubters left in DC they must be of the most gnarled and cynical sort.
Tonight’s concert was incredible.
The 930 Club stage was dressed up with two long streamers featuring mini-flags of all nations, a giant back-drop of a London Bridge scene, and a Union Jack draped poetically over Albarn’s stand-up piano. A top-hatted string quartet warmed up on stage as a trilby doffed Paul Simonon took up his long-necked bass. Albarn soon followed donning a top-hat of his own. Followed by Tony Allen looking cool and tough behind the drum-kit and a sober looking guitar guru Simon Tong.
When the band launched into their set, I thought they sounded a little loose and Albarn seemed a tad subdued. Which got me wondering if maybe there was something to the vanity project label that had been tossed about. By song two those thoughts were wonderfully dismissed, the band tightened up considerably and launched into one of the coolest sets I’ve seen in a long time.
I say cool because, well, there is no other word to describe it. Everyone in that band is so fucking cool. Individually they are masters at their instruments; Allen – Drums, Tong – Guitar, Simonon – Bass, Albarn – Voice. Collectively they present a musical confidence that lends to their dripping with cool.
Case in point – Albarn is hammering away on the piano playing wonderfully off of Allen’s cymbals while Paul Simonon casually leans on Albarn’s piano watching with a calm expression on his face that says, ‘I could do better than that’ whilst his cigarette burns away tucked into the fret-neck of his bass that hangs untouched at his waist as if placed there by a photographer’s assistant. A picture perfect spontaneous moment of utter coolness.
Albarn is one of the great front men of our time. Every time I see him he reminds me of that. Over the course of the set, the guy came to life, leading the crowd along with him on his musical journey by dancing and posing and singing his gloomy London narrative to perfection.
Tong and Allen were like statues. Monuments to their respective instruments playing them effortlessly while displaying a dizzying range of technical proficiency. I haven’t seen Tong play guitar since the early 90’s and I forgot how damn good he is. What really surprised me about these two guys was the level of drama they wrenched out of their gear. I had read a review from the GBQ show in New York that said Allen was a boring drummer! That is insane. Allen is the definition of restraint and dramatic effect. The mofo is complex. His well-placed shot to a snare reports like a rifle. Both Tong and Allen’s intricacies were well-served by the 930 Club’s system.
And then there was Paul Simonon on bass. His lines were right up front in the mix and heavy. It was friggin’ beautiful. Simonon live is like watching Fred Astaire. He dances around the stage sometimes holding his bass like a dance partner other times a gun, but always an extension of his long-limbed, lanky body. Donned in a tilted, trilby hat and smart black suit, he looked like he walked right out of a Clash PR photo that I have framed in my staircase. The guy is cool personified. The audience played off of Paul as much as they did Albarn. It was like having two-front men for the price of one.
Even with the best intentions, musically all of these strong personalities on one stage could have worked against each other. Minus the benefit of the studio and mutli-takes, GBQ could have been a disaster live. But it most certainly wasn’t. These guys played together like old buddies jamming on a lark after drinking a case of Red Stripes at a reunion. The beginning was a little rusty, but by the third song they were on fire, and they kept the fire going long into the night. And hopefully for a couple more albums!
Go to NPR’s Concert Series for an archived listen to tonight’s concert.
Originally published on May 14, 2007.
Wednesday, October 13, 2010
Thursday, July 1, 2010
“One To Another”
As I’m sitting here preparing to write my review of Wednesday night’s Charlatans UK show at the 930 Club, the awesome rendition they played of “One to Another” keeps cycling through my head. I am sitting here wrestling with the urge to hop in my car and zip up 95N to see them play again tonight in Philadelphia. In essence going from one show to another.
The Charlatans are one of my favorite bands of all time. They are my favorite Brit-pop band, partially because they’ve stuck it out so long and evolved in style to transcend the whole genre. When their first album Some Friendly dropped I was in High School and it changed my life, widening my musical universe far beyond my strict Punk roots. Ultimately it was seeing the Charlatans play live some many years ago that sealed the deal. The Charlatans live are amazing, one of the most fun, danceable, party-spirited performances you’ll ever see. And somehow they’ve managed to keep the energy going now for 17 years.
Wednesday night’s show was spectacular. Probably the best show I’ll see this year. I can’t imagine it being topped by anyone. And I say that out of honest reviewing – not just because of my affinity for the band. Their performance was spot on – playing, energy, attitude, fun. Tim Burgess has gone from awkward Madchester teen, bouncing around with bangs a-swaying, to the epitome of cool, a Pop statesman in his prime. Burgess’ presence on stage with black derby hat and hands in his pockets was magnetic. The crowd followed his every tic as he belted out songs in a range of voice that is captivating and mind-boggling. Burgess had a smile on his face the whole time, occasionally waving to crowd members and jokingly busting out in slow-mo renditions of his old dance steps. It was great to see the guy performing in such a good mood.
The rest of the band always play with a kind of background presence, but their instrumentation is front and center. Year’s ago I called these guys the ultimate jam band – not in the hippy-trippy sense, but just in the down-home, kick-ass, dance-your-butt-off style that gets you moving every time. I often complain about DC crowds talking too much and not dancing enough at shows. Well the 930 Club wasn’t nearly sold-out for this show, but the couple of hundred folks who were there were all fans, and I haven’t seen a DC crowd that enthused and dancing that much in years.
For Charlatans fans the set-list was incredible. It was like a dream-come-true set-list. The Charlatans played the high-notes from most of their albums, including their rarely played-live original single. Hearing the opening cymbal’s to “The Only One I Know” was a wonderful live music moment. It is so rare to hear live that every fan in the crowd started cheering and literally jumping for joy. It was a moment that matches hearing Radiohead bust out the rarely played “Creep” at Merriweather Pavilion a few years back. Moments like these are what get me going back for more every time. I love live music and there couldn’t be a better reminder of that than this Charlatans’ show.
Now to drive to Philly or not – decisions, decisions.
Originally published on May 19, 2006
I did not go to Philly. I really wish I had though. This was the last time The Charlatans played in DC. I have had tickets to two different tours o theirs that have canceled since this show.
The Charlatans are one of my favorite bands of all time. They are my favorite Brit-pop band, partially because they’ve stuck it out so long and evolved in style to transcend the whole genre. When their first album Some Friendly dropped I was in High School and it changed my life, widening my musical universe far beyond my strict Punk roots. Ultimately it was seeing the Charlatans play live some many years ago that sealed the deal. The Charlatans live are amazing, one of the most fun, danceable, party-spirited performances you’ll ever see. And somehow they’ve managed to keep the energy going now for 17 years.
Wednesday night’s show was spectacular. Probably the best show I’ll see this year. I can’t imagine it being topped by anyone. And I say that out of honest reviewing – not just because of my affinity for the band. Their performance was spot on – playing, energy, attitude, fun. Tim Burgess has gone from awkward Madchester teen, bouncing around with bangs a-swaying, to the epitome of cool, a Pop statesman in his prime. Burgess’ presence on stage with black derby hat and hands in his pockets was magnetic. The crowd followed his every tic as he belted out songs in a range of voice that is captivating and mind-boggling. Burgess had a smile on his face the whole time, occasionally waving to crowd members and jokingly busting out in slow-mo renditions of his old dance steps. It was great to see the guy performing in such a good mood.
The rest of the band always play with a kind of background presence, but their instrumentation is front and center. Year’s ago I called these guys the ultimate jam band – not in the hippy-trippy sense, but just in the down-home, kick-ass, dance-your-butt-off style that gets you moving every time. I often complain about DC crowds talking too much and not dancing enough at shows. Well the 930 Club wasn’t nearly sold-out for this show, but the couple of hundred folks who were there were all fans, and I haven’t seen a DC crowd that enthused and dancing that much in years.
For Charlatans fans the set-list was incredible. It was like a dream-come-true set-list. The Charlatans played the high-notes from most of their albums, including their rarely played-live original single. Hearing the opening cymbal’s to “The Only One I Know” was a wonderful live music moment. It is so rare to hear live that every fan in the crowd started cheering and literally jumping for joy. It was a moment that matches hearing Radiohead bust out the rarely played “Creep” at Merriweather Pavilion a few years back. Moments like these are what get me going back for more every time. I love live music and there couldn’t be a better reminder of that than this Charlatans’ show.
Now to drive to Philly or not – decisions, decisions.
Originally published on May 19, 2006
I did not go to Philly. I really wish I had though. This was the last time The Charlatans played in DC. I have had tickets to two different tours o theirs that have canceled since this show.
Optimism Prime
As you may or may not know, I am looking forward to the Transformers movie with much optimism. I don't want to get to psyched and be let down, but so far all news has been good. From Michael Bay directing, to the advanced cgi test reel, to Bernie Mac getting cast as a voice (hopefully as Jazz).
Anyway I just got another interesting tidbit. Michael Bay the director just bought himself ownership of a Special Effects company. This is interesting because it used to belong to James Cameron. It is also interesting because usually after an FX firm makes a mind-blowing movie they get a lot of work for the next few years which translates into record profit. Well, I think Michael Bay bought this company because of Transformers. I think or hope rather that Michael Bay bought into the company to share in the profits that Transformers will bring them.
This sign of confidence from Bay gets me really excited about the quality of the FX in the new Transformers. Here's to hoping!
Originally posted on May 16, 2006 on Myspace.
The effects in Transformers 1 & 2 are incredible. I think the first flick is enjoyable and the second is unwatchable drek.
Anyway I just got another interesting tidbit. Michael Bay the director just bought himself ownership of a Special Effects company. This is interesting because it used to belong to James Cameron. It is also interesting because usually after an FX firm makes a mind-blowing movie they get a lot of work for the next few years which translates into record profit. Well, I think Michael Bay bought this company because of Transformers. I think or hope rather that Michael Bay bought into the company to share in the profits that Transformers will bring them.
This sign of confidence from Bay gets me really excited about the quality of the FX in the new Transformers. Here's to hoping!
Originally posted on May 16, 2006 on Myspace.
The effects in Transformers 1 & 2 are incredible. I think the first flick is enjoyable and the second is unwatchable drek.
NSA Record Hundreds of Concert Goers “Chatter”!
Well not really, but in their obsession with “chatter” the dubious organization would have recorded a ton at last night’s Mono/Pelican show at the Black Cat. In what can only be the rudest crowd since the Mum show back in ‘04, it seemed a huge majority of the crowd were more interested in themselves than in Mono, this wonderful band from Japan.
Everyone was talking through Mono’s beautiful instrumental pieces which made their quiet guitar and drum orchestrations sound more like Mogwai’s “Young Team”, complete with ‘chatter’ samples, than Mono’s “Are You There?” (which is the album the Mono fans were paying to hear played). Fortunately, unlike Mum who rarely go into decibel levels louder than a delicate whisper, Mono songs often swell into long extended noisy climaxes which were so impressive and loud that the world of disrespectful, talkative, jerk-wads dropped away sporadically.
Mono’s set was a shorter version of their 2005 show in Baltimore (which made #1 on my year end list). This group keep getting better and better, as demonstrated by their new album “Are You There?” and last night’s show. At one point I was thinking that Mono have surpassed Mogwai in perfecting the post-rock tsunami-swell effect, which if is truly the case then the grasshopper has now become the master.
Oddly enough, after Mono’s set, half of the noisy jerks left! I guess they had achieved their cool-points by paying $12 to be seen not listening to Mono and decided to hit the pike.
That exodus stream-lined the crowd for Pelican nicely, who put on a stunner of a set to a crowd who were mightily into it.
Pelican’s set was book-ended by two perfect songs. The first being a barn-burner power piece that had to be heard to believe. It was clear right out of the gate that Pelican were here to blow us away. Pelican are an endurance band, their songs are punishing in a long-trek sans shoes through snowy Rockies kind-of-way. Their last song was equally powerful, but not as in-your-face as they relied on sophisticated guitar sonics, stretching their sound from power to soul-tingling beauty. It’s always nice to see a guitarist going at his strings with a cello bow, the sign of a real guitar-geek and sonic-explorer.
It would be funny if the NSA had been recording last night’s show. I can imagine two dudes in a van listening in with head-phones.
Mono begins: Agent A says to Agent B “Listen to that crowd chatter, we’re getting a gold mine of intelligence here!”.
Mono finishes in a blaze of glory: Agent B yanks off his head-phones and shouts “Jesus that’s Loud!”
Pelican begins: Agent A spits out his coffee in shock!
Pelican ends: Agent B is whimpering on the floor in a helpless pool, Agent A is deaf.
Originally published on May 12, 2006.
Rude, talking crowds are the bane of my existence.
Everyone was talking through Mono’s beautiful instrumental pieces which made their quiet guitar and drum orchestrations sound more like Mogwai’s “Young Team”, complete with ‘chatter’ samples, than Mono’s “Are You There?” (which is the album the Mono fans were paying to hear played). Fortunately, unlike Mum who rarely go into decibel levels louder than a delicate whisper, Mono songs often swell into long extended noisy climaxes which were so impressive and loud that the world of disrespectful, talkative, jerk-wads dropped away sporadically.
Mono’s set was a shorter version of their 2005 show in Baltimore (which made #1 on my year end list). This group keep getting better and better, as demonstrated by their new album “Are You There?” and last night’s show. At one point I was thinking that Mono have surpassed Mogwai in perfecting the post-rock tsunami-swell effect, which if is truly the case then the grasshopper has now become the master.
Oddly enough, after Mono’s set, half of the noisy jerks left! I guess they had achieved their cool-points by paying $12 to be seen not listening to Mono and decided to hit the pike.
That exodus stream-lined the crowd for Pelican nicely, who put on a stunner of a set to a crowd who were mightily into it.
Pelican’s set was book-ended by two perfect songs. The first being a barn-burner power piece that had to be heard to believe. It was clear right out of the gate that Pelican were here to blow us away. Pelican are an endurance band, their songs are punishing in a long-trek sans shoes through snowy Rockies kind-of-way. Their last song was equally powerful, but not as in-your-face as they relied on sophisticated guitar sonics, stretching their sound from power to soul-tingling beauty. It’s always nice to see a guitarist going at his strings with a cello bow, the sign of a real guitar-geek and sonic-explorer.
It would be funny if the NSA had been recording last night’s show. I can imagine two dudes in a van listening in with head-phones.
Mono begins: Agent A says to Agent B “Listen to that crowd chatter, we’re getting a gold mine of intelligence here!”.
Mono finishes in a blaze of glory: Agent B yanks off his head-phones and shouts “Jesus that’s Loud!”
Pelican begins: Agent A spits out his coffee in shock!
Pelican ends: Agent B is whimpering on the floor in a helpless pool, Agent A is deaf.
Originally published on May 12, 2006.
Rude, talking crowds are the bane of my existence.
Keep Them Out Of Sunlight
A quick reminder to DC post-rock fans that Mogwai are playing the 930 Club tonight. A show I’ll miss unfortunately due to an impending paper deadline. But then I saw that coming, so I made sure to catch them in Baltimore back in March.
You can go here to read my review of that show, if you’re looking for a glimpse of what you might be in for tonight. Of course when you read that review keep in mind that the sound system at the 930 Club destroys SONAR’s and that when Mogwai played the here in 2003 it was one of the best sets of all time. So while B’more was a good show, I bet tonight’s is going to be a great one.
Mogwai
@ 930 Club
$18
Originally published on May 10, 2006.
You can go here to read my review of that show, if you’re looking for a glimpse of what you might be in for tonight. Of course when you read that review keep in mind that the sound system at the 930 Club destroys SONAR’s and that when Mogwai played the here in 2003 it was one of the best sets of all time. So while B’more was a good show, I bet tonight’s is going to be a great one.
Mogwai
@ 930 Club
$18
Originally published on May 10, 2006.
Bird Attack II: The Revenge
As some of our readers may remember my car was attacked by a giant bird last April.
Well, I guess it is that bird attack time of year again, because I just stumbled on this blog entry over at Sweet & Sour where their DC author was attacked by a murder of crows while trying to enter her house!
Where will these crazed birds strike next, a phone booth? It’s beginning to feel like our very own DC version of The Birds. Where’s a local Hitchcock when you need one?
Originally published on May 10, 2006.
Too bad, the blog I mention Sweet & Sour is offline in 2010.
Well, I guess it is that bird attack time of year again, because I just stumbled on this blog entry over at Sweet & Sour where their DC author was attacked by a murder of crows while trying to enter her house!
Where will these crazed birds strike next, a phone booth? It’s beginning to feel like our very own DC version of The Birds. Where’s a local Hitchcock when you need one?
Originally published on May 10, 2006.
Too bad, the blog I mention Sweet & Sour is offline in 2010.
All The President’s Garbage-Men
Only in DC would this happen.
Local garbage-man Randy Hopkins discovered an intact, highly-detailed, 30-page security plan for George W. Bush’s visit to Florida in the trash!
The plan was found in the garbage, during trash collection, hours before Bush’s trip and contained detailed information about the President’s transportation time-tables, decoys vehicles, back-up vehicles, and protection. The report also contained the exact location of the nuclear “foot-ball” (the remote nuclear launch control box) for the entirety of the trip.
Garbage-man Hopkins, out of “fear of reprisal” from the Secret Service and the White House, reported the find immediately to Channel 9 news. Channel 9 didn’t report details of the security leak until after the President’s trip was safely completed.
Hopkins summed up the problem of finding highly sensitive intelligence in the garbage thusly:
“I saw locations and names and places where the President was going to be. I knew it was important. And it shouldn’t have been in a trash hole like this,” he said, “We’re going through a war, and if it would have fell into the wrong hands at the right time, it would have been something really messy for the President’s sake.”
Originally published on May 10, 2006.
Local garbage-man Randy Hopkins discovered an intact, highly-detailed, 30-page security plan for George W. Bush’s visit to Florida in the trash!
The plan was found in the garbage, during trash collection, hours before Bush’s trip and contained detailed information about the President’s transportation time-tables, decoys vehicles, back-up vehicles, and protection. The report also contained the exact location of the nuclear “foot-ball” (the remote nuclear launch control box) for the entirety of the trip.
Garbage-man Hopkins, out of “fear of reprisal” from the Secret Service and the White House, reported the find immediately to Channel 9 news. Channel 9 didn’t report details of the security leak until after the President’s trip was safely completed.
Hopkins summed up the problem of finding highly sensitive intelligence in the garbage thusly:
“I saw locations and names and places where the President was going to be. I knew it was important. And it shouldn’t have been in a trash hole like this,” he said, “We’re going through a war, and if it would have fell into the wrong hands at the right time, it would have been something really messy for the President’s sake.”
Originally published on May 10, 2006.
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