Music Snobbery

Kate Nash @ Johnny Brenda's: Let's Talk

It's the fantastic Miss Kate Nash above, gracing the pages of this space once again in live form. There's a few things you can count on a consistent basis here -- coverage of UK music, making fun of popular bands and live reviews on acts that never fail to deliver. Obviously, The Nash is one of the handful of people you can expect a great time. Even though she said her voice was crapping out, she again put together a high-energy show. In fact, she's never been more animated and loose.

Thus, I had to travel down to Philly to see her play the small confines of Johnny Brenda's, when she could have easily sold out the larger spaces. She's promoting her third album, Girl Talk, which marks a transition for the UK songstress. She's on full-in riot grrrl mode. This is the first time she's touring without a piano nearby or guys in her backing band.

The setlist:

• Part Heart
• Death Proof
• All Talk
• Kiss That Grrrl
• I'm A Feminist, You're Still A Whore
• Mermaid Blue
• Oh
• Free My Pussy
• Foundations
• 3am
• Mariella
• Don't You Want to Share the Guilt
• Rap for Rejection
• You're So Cool
• Encore: We Get On

Here's put some perspective on Kate. Let me show you a picture of her when I first saw her in September 2007 at Luna Lounge (which is now Knitting Factory Brooklyn). This is back in the "Caroline's A Victim" days.

And look at her now:

Striking difference, aye? It's probably why I've attached to her as an artist, she's not satisfied with doing the same thing. She wants to do different sounds and styles. More importantly, she's calling the shots. Girl Talk is her first album on the great UK indie label, Fortuna Pop, after two albums with Geffen/Fiction. Thus, she can do a more rocking sound without having to deal with record execs thinking about demographics. When she talked about her song inspired by Pussy Riot, "Free My Pussy", she stated that the song is more about being a general oppression from friends, family, ex-boyfriends and record excutives. 

The new album has a few choice cuts that draw inspiration from Bikini Kill, The Slits and any number of the female-fronted punk bands. You got the B-movies, motorcycle gang riffs on Death Proof, All Talk, Cherry Pickin and Sister. All Talk and Death Proof were cracking live, with Kate belting out the rock vocals and slamming on her bass. As you can see on the setlist, she played a few fan favorites where everyone can sing along -- from the young girls to the creepy old guys (present company included). It's great that after three albums she's got a great body of work to choose from for her setlists.

This is my EIGHTH time seeing her live since 2007. Damn. Like I said, for me, there are a few bands I always come back to every album -- Doves, New Pornographers, Black Angels and Nash. I enjoy the familiarity and I can expect a few surprises and rediscoveries. With this show, I was never much of a fan of Mariella, but she had fun with it. Before, she would play it was seriously. This time, she was doing some exaggerated poses, playing around with the lyrics and encouraging the crowd to sing with her.

Like with previous shows, Kate get lots of random shouts from the crowd. My favorite was a Bowery show where somebody yells, "Get on with it, you bitch." With this show, somebody from the balcony screams between songs, "Nobody is dancing, it's my birthday." I think about doing this for 6-7 years, Kate just rolls with it, cracks a few jokes and goofs around with her band and her proteges in Supercute!

Last note, to bring this full circle, similar to when Kate stopped by for an interview for my 2,000th post, Sunday marked my 8th anniversary of MusicSnobbery.com. Fucking hell. What the hell happened? Eight years of blogging. The popular blogs have been sold, others faded away because nobody wants to write more than 140 characters or something. In any event, I'm still here, spreading the good snobbery word. If I make it 10 years I should be committed.

CHVRCHES / Dan Croll @ Mercury Lounge: Let's Go Crazy!

Glasgow and Liverpool representing TWO TIMES tonight at Mercury Lounge. Scottish trio CHVRCHES and English singer Dan Croll both made their NYC debuts for two sold out sets. The NYC people have spoken, we want our synth pop imported from across the sees.

CHVRCHES (or Chvrches) are the hotly tiped group from Glasgow who made BBC's Sound of 2013. Any band that enters and exits to Prince gets five stars out of five in my book. They were all sorts of awesome -- a sound that blisters with cosmic wonderment and video game vibrancy.

The setlist:

• Lies
• If We Sink
• Lungs
• Now Is Not The Time
• Gun
• Science and Vision
• Night Sky
• Recover
• Tide
• The Mother We Share
• I Would Die 4 U (Prince cover)

The pint-size Lauren Mayberry leads most of the vocals, while either Iain Cook or Martin Doherty will take over on a couple of tracks. She doesn't know who is who yet. Give her a break, they are a young band. Whoever is taking the vocals, this is band that has complete control of their sound. Lauren gives the track a youthful quality, while the guys give tracks like Tide and If We Sink a smooth, weary quality.

The overall package of CHVRHCES will render your favorite synth pop/techno outfit obsolute. You look at them, and they are rather understanded and unflourishy. They don't wear ellaborate costumes or resort to gimmicks (*cough*Grimes*cough*) -- they just show up, play some well-structured tunes, crack a few jokes between songs and leave everybody smiliing.

Their big hit is, or will be The Mother We Share or Lies. The enter to a slowed-down rendition of Prince's "Let's Go Crazy", which leads into the big fat beats of Lies. The Mother We Share is their Knife-like crowd pleaser. All of these tunes will appear on an EP that Glassnote will release next week. Their debut album is slated for the late summer or fall.

Dan Croll is a pimp -- an EP pimp. In case you don't know, he has an EP out now. We know that because he mentioned between every song. The man needs to get home some how. So download it now, so he can get in to support Liverpool FC. In any event, I dig everything he did tonight, I have for a while since the summer vibes of "From Nowhere" came out over the internetweb. He's got an easy-going nature with peppy pop tunes to get you grooving.

Los Campesinos! / Yellow Ostrich @ Maxwell's: Hello Shorts

I have to start by saying, "Dayum!" When Los Campesinos left the stage and the whole room smelled of body funk, it was a "I said Gawd-Dayum!" moment. Then I walked outside into the unsavory heat and humidity, Dayum!

The pride of Cardiff University made their triumphant third visit to Maxwell's. If you remember last time, they were delayed by that Icelandic volcano in 2010. They ended up playing on a Saturday afternoon. This was a more proper situation for Los Campesinos! feverish band of mega-pop.

I do have to say that since I've been doing this site, LC has been one of my favorite bands that have formed in my seven year history -- one of like 20 I would my favorites. It's a two-tier appreciation. First, they've released four quality albums that you love for their unabashed exuberance and their sweet melancholia. Second, they are just a damn fine live band. It's not like they are jumping off the walls and lighting themselves on fire. They play tight without being showy, and generally seem like good people.

Their latest album, Hello Sadness, is sort of a funny title. Since they started in 2006, they've had to shake the Twee As Fuck title. By now, being called a twee band is an insult. With the new album, it's not that they matured (all bands do that), they are more clear. When I first got to know the band and interviewed Gareth, they major influence was Broken Social Scene. So much so that they got BSS's David Neufeld to produce their work. On the new album, they've create more space between the goofy keyboard parts, brass, glockenspiel, the OOhhhhs and Whoa Ohhs and Gareth ruminations on awkward moments in life. I think they'll always have those elements in their songs, and a youthful confusion in their lyrics.

With a great catalogue to choose from, tonight's show featured fan favorites and crowd pleasures to get pussies in the crowd jumping and knocking into each other. Hey, Gareth called them all pussies. This is coming from a man who kept on talking about the shorts he was wearing.

Area heroes Yellow Ostrich are tagging along on the LC tour. They stepped up their sound with the second album, Strange Lands, with some grinding, heavy duty guitar licks. They also landed on the veteran indie label Barsuk, having released their debut, The Mistress for free-ish. Now, founder Alex Schaaf filled out his big idea with some familiar faces, former We Are Scientists drummer Michael Tapper and sometimes Beirut member Jon Natchez. The result is a massive putout of volume, importance and weight. It's always a good sign when a three-piece band sounds like a 10-piece band.

 

Youth Lagoon / Dana Buoy @ Bowery Ballroom

We had many options every night for musical entertainment here in the greater Tri-State area. Believe me, I choose wisely to see a guy sitting at a keyboard that was covered in a baja blanket.

I kid the guy. Youth Lagoon! It's the name that Trevor Powers uses on stage. With his baby face and trusted guitarist sidekick, he laid out some mellow slow jams and organ-driven melodies for the the New York faithful. I went out of curiosity to see if some of the magic on The Year of Hibernation translates do the stage. In certain extend, it does. Bowery Ballroom was the right size for his lo-fi bedroom recordings.

The setlist:

• Afternoon
• Posters
• 17
• Cannons
• The Hunt
• Bobby
• Montana
• July
• ENCORE: Daydream

The first thing I thought to myself when Powers entered the stage was, "I wonder if he's looking for his mommy." Indeed, the young man of 22 or 23 years of age resembles your little bother, but with better musical taste. He's a little awkward on stage, fidgeting between songs and asking about where to get good tacos. It's La Esquina all the way, my man.

Jokes about his age aside, the man has laid out an impressive, minimalist musical palate that I hope is just a small step for him. He's like a junior Panda Bear with Neil Young type vocals filtered through a toy Casio keyboard. As much as I dig his intimate songs on his debut album, they are a little on the formulaic side. He starts out with a simple organ or keyboard opening, sings a few verses then BLAMMO slams in with a heavy drum machine or amped up keyboard sound. It's consistent of much of the album. Despite, those BLAMMO moments is the great selling point of Youth Lagoon.

Tonight's show is where he should be in his career, just him, his guitarist, keyboards and drum machine. The drum machine created most of the joy and entertainment value tonight when it would break up Powers's wails and hushed vocals. There was a simplistic beauty in tunes like "Montana" and "July". The simple tones hang there for you to grab onto and embrace. "Cannons" is the song people seemed to respond to with his slowly building energy.

Sometimes, in our instant notoriety musical landscape, we expect greatness right off the bat. Not everyone can be a Strokes, Arcade Fire or Azealia Banks out the gate. Powers will be one of the artists who make a major impression 3 or 5 years now with one or two more albums in his catalogue. I'm actually more interested to see what he can build on in the future.

Dana Buoy of Akron/Family is on tour with Youth Lagoon. Like Powers, it's just him, guitars, drum machine and programmed sounds. His music is more livelier and fuller. It reminded me of High Places with the tropical and African inspired melodies. Dana's voice is actually pretty strong and fits well with his partner. they were some decent harmonies swimming through his tunes. He even performed some interpretative dance when needed. His debut album, Summer Bodies, is out now on Lefse.

2:54 / Big Deal @ Mercury Lounge

Here's you're final gig post on the U.K. bands passing through NYC onto SXSW. Yes, New York, where we don't use our homeless people as wi-fi hot spots.

I went into 2:54 totally blind, or more like deaf. I only knew that they were a sister duo and that they are on the Fat Possum label. I usually take a quick primer before I go into gigs, but this one, I just want to come with a clean slate. My ... my ... my ... this ladies lay down the darkness, in a good way. The Thurlow sisters (singer Colette and guitarist Hannah) grinds out some deep and sinister grooves with slight bit of seduction. Think Warpaint with a little bit of that Siouxsie Sioux snarl. One of their singles you can find on their Scarlet EP is called "You're Early" -- a sneaky, slow burner of a song. "Got a Hold" is more in the Jesus & Mary chain, shoegazer motif with the echoing vocals and heavy guitars. In all, I'm digging the grittiness of the songs. It makes you think of a desolate highway in the desert.

As a live act, they create those wonderful elements to full effect. It was actually kind of funny seeing Colette lay down those evoking vocals, then between songs, she's this sweet and shy person. She would smile and politely say "Thank you", as if she was greeting important people who judging her every move. It's all good C, you're cool with us.

For those on the West Coast, you can catch them and Big Deal on the 20th at the Echo in L.A. and the 22th at the Rickshaw Shop in San Francisco.

As a side note, the name 2:54 comes from their favorite moment in the Melvin's song "A History of Bad Men", which comes at two minutes and fifty-four seconds.

Big Deal were the reason I was there. The duo performed their first U.S. shows this week (it was a return trip for 2:54). They caught my attention last year when I previewed all the acts playing the 2011 Camden Crawl. American Kacey Underwood and the Britian Alice Costelloe are a lovely duo who sing songs that makes you want to jump on your bike and ride off on an adventure. It's a stripped down sound with just their vocals and guitars. They convey heartbreak, wonder and confusion about the world about them. The reason I'm attached to them because they remind me of a edgier version of Kings of Convenience. Like them, they have a basic, real world quality that transport you to some other place. It's good escapism. The big difference is those, at time, harsh guitars that gives their music darker feel.

LIke 2:54, they were a bit shy between songs. Kacey would try elevate the quiet, attentive atmosphere by saying that their from London, when clearly he has an American accent. They two have great chemistry when they perform. In case you're wondering, no, they are not a couple. Maybe they do some sort of Vulcan mind meld where they use the same brain to perform.

Their debut album, Lights Out, is out now on Mute Records.

Django Django @ Glasslands

Now that's how you make a U.S. debut. Scottish sweethearts Django Django finally brought their brand of avant-garde pop to the beautiful people of New York. As the band stated, it took three tries to pass the U.S. Boarder Patrol. It's your tax dollars at work.

I under-estimated the anticipation for the band, because Glasslands was packed to the rafters at 1am. Django even had that look on their face of like, "You folks are here to see us, right?" It's not like the group are fashionable or particularly popular back in the U.K., but I guess the Brooklyn people once in a while latch onto to somebody of high musical quality.

The obvious comparison for Django Django is to another Scottish experimental pop legends, The Beta Band. It's not a concidence that lead singer Dave Maclean is the younger brother of John Maclean of the Beta Band, and their latest incarnation, the Aliens. There's a kitchen sink mix of styles and instrumentation inherent in their sounds. There's throw-back surf rock guitar links, lo-fi 8-bit video game electronics, tribal percussions and plenty of world beat expressions. Their self-titled debut album stretches the boundaries of what is possible in their genre. I don't know whether to study the album or just forget about the influences and just enjoy it.

During their set, I wanted to behold the glorious oddness of the band. Starting with their crazy t-shirt designs that they all wore. It's some sort of paintbrush pattern that each member had a different variation. The good news about their live set is that all those quirky elements translate to the stage. "Default" got the crowd jumping with that garage guitar lick and bouncey melody. That lick is still sticking in my head. There's plenty of ear worm rhythms coming from that band -- the cosmic electronics of Hail Pop, the coconut and wood block percussion sof Waveforms and funky beats of Skies of Cairo. The Cairo song was a lot of fun to see live -- all the band members jump on the drum set or switch of on keyboards. In all, the band played to 3am! That's insane. Well, there was a daylight savings time, but still.

I'm already looking forward to the next time they come around. They do play tonight with Clock Opera and Charlie XCX (review of their show at Knitting Factory will come later on) at Santos, but I want to see them a proper venue like Bowery of Johnny Brenda's. You know, some place that's not a potential fire hazard or sweatbox like Glasslands. The sonic diversity of Django Django is not to be missed live.

Bombay Bicycle Club / The Darcys / Lucy Rose @ Maxwell's

The BBC/Darcy/Lucy traveling band made their way through Hoboken last night -- all first-time appearances in the Garden State. It better not be their last because I can say without hesitation that this was the first great show I've seen this year. You have my new buddy Lucy Rose stunning the crowd into silence with her beautiful acoustic set, Canucks The Darcys creating an avalanche of incredible noise and Bombay Bicycle Club staking their claim as one of the most energizing live acts to come from the U.K.

The setlist:

• How Can You Swallow So Much Sleep
• Your Eyes
• Bad Timing
• Open House
• Dust on the Ground
• Leave It
• Take the Right One
• Lights Out, Words Gone
• Rinse Me Down
• Ivy And Gold
• Evening/Morning
• Cancel On Me

It was only last year at this time that Bombay Bicycle Club made its way over to the States for the first time. Even though their 2009 debut album I Had the Blues But I Shook Them Loose had a grand reception and a proper U.S. release, they never got the support to come over for live dates. Guitarists Jamie MacColl apologize to the crowd for now coming over to Maxwell's for seven years. Well, good thing they've been making up for lost time with their first extensive headlining tour of U.S. and Canada. Previously, they were supporting Two Doors Cinema Club on their big North American tour.

Last night's show reminded me of other young British bands I've seen at Maxwell's who came in not knowing what to expect and then subsequently playing at a high level to a sold out crowd. Specifically, Franz Ferdinand and Kaiser Chiefs played energetic shows and went onto great success. I think BBC has that in them, especially when their newest album, A Different Kind of Fix, is their best album to date. Not that they did anything radically different from their debut, but the songs have a great variety of moods and atmospheres. You have the bouncy piano jam "Shuffle" against the boyish romantic ode "Lights Out, Words Gone". At that center is the jittery vocals from Jack Steadman, the shy lead singer who can let loose when guitar prowess needs to be injected. He doesn't say much during the show, letting the songs speak for themselves.

There wasn't a dull moment in the show. "Evening/Morning", their breakout song from 2008, scorched the stage at Maxwell's. Then when Lucy would come out hiding in the back to do backing vocals, the vibe became lively and charming. "How Can You Swallow So Much Sleep" -- not a title that rolls off the tongue -- shows the depth of BBC's sound. Even songs that they played from their second album, Flaws, which I didn't particularly care for, came across as new and fresh. I've said it many times before, when you have any bands play right in front of you, that's where the memorable shows happen. I'll take the immediacy and intimacy over large festival stages any day.

I was jonsing to see The Darcys play some Steely Dan last night, and they did with a rousing rendition of Deacon Blues from their Aja cover album. Added with songs from their Arts & Crafts self-titled debut album, I think I have band I will need to see multiple times. They reminded of my obsession with Secret Machines when they first came on the scene. The Darcys play an aggressive, epic and emotional version of Pink Floyd-ish prog rock. They have the large, expansive and driving songs like "Don't Bleed Me" and "House Built Around Your Voice" juxtaposed with the quiet and simple tracks like "Shaking Down The Old Bones". Thus, when they applied that template to the Aja album, it's just pure gold.

Lucy Rose is just darling. I want to clone her and place those clones in every circle of friends. The British singer guests of the BBC album and vice versa of her singles. When she's done with this tour (the last night is Philadelphia's Union Transfer on Saturday), she'll head back to finish on that debut album. What you are going to do right now is head over to Spotify, type in Lucy Rose, and enjoy the three songs and remixes that she has available. They are called "Middle of the Bed", "Red Face" and "Scar". I'll be here when you get back....

Am I right? Don't you better? She had the whole crowd entranced, so much so that nobody chatted during her set. She even noted that back in the UK, she was use to random noises while she played. Well done Jersey.

The Good Natured @ Mercury Lounge

First show of 2012 is in the books, and I hope all gigs are like The Good Natured's set -- loud, fun, beat-laden and over early. Although, the UK band has played in New York for three years straight, including two CMJ appearances, tonight felt like a highly anticipated debut of sorts. People are more familiar with the band and their debut EP, Skeleton (out on Astralwerks).

Looking back when I saw them in 2010 at Littlefield, where they were on a line-up with two now-popular UK bands Frankie & The Heartstrings and Chapel Club, here's what I said, "I wouldn't mind seeing them again with some more shows under the bet. From the songs I've heard, Sarah has some groove and style to her songs. She fits neatly into the Bat for Lashes and Florence Welsh vibe with defiant vocals and strong beats."

I was correct. The three-piece have plenty of live shows to build up a presence since then and it has paid off. They were crazy exciting. Their tunes have a techno/synth EuroPop sound that would be right at home in a Berlin disco circa 1984. The beats are punchy and the bass in thumbing. It's the type of music that you feel cooler after you listen. "Be My Animal" and "Skeleton" are the songs you should be listening to now from the EP. "Dead on the Dancefloor" and "Lovers" will be the songs you'll be listening to when they release their debut album later this year. It's being finalized this month.

The setlist:

• Video Voyeur
• Be My Animal
• Wolves
• Your Body Is A Machine
• Lovers
• Sting
• Dead on the Dancefloor
• Skeleton

Let's get this name into your system, Sarah McIntosh. She's the lead singer and face of the band. That Sarah is good times on the stage, and even better off when she jumps off to saunter around the crowd. The gay guys were have a grand time dancing with her. She's a pistol that McIntosh -- joking on stage and check this, she smiles and says "thank you". The music is a tad on the dark side, but that won't stop her from her doing her thing. As you can see in the pictures, she hides her eyes underneath her big mop of hair, but once in a while, you can see a darken eye peering through to survey the crowd. She's got a good stage presence when she prances around on stage and sings to people in the crowd.

So let's put Sarah on my cool list for 2012. NME has theirs, why not mine. It won't be full of sell outs and flash in the pans. I'm sure the other two guys are fine folks, but Sarah Mac will be my prom date this year. She sings, plays guitar, drums, keyboards and wears velvet pants.

Lykke Li / First Aid Kit @ Wellmont Theatre

The cloth was flowing tonight in Montclair as Sweden's finest exports since Stieg Larsson took to the stage at the Wellmont. Lykke Li ,the swirling and twirling dance dynamo, and First Aid Kit, the sister act that knows no boundaries, put together one of the finest shows I've seen at the venue.

Lykke Li shines as a live performer. The stage is where she belongs because she acts as if the music is controlling her. Her arms sway across her body, she reaches out for the audience and then grabs drumsticks to bang away on the drums like a banshee. She wears these long flowing outfits to emphasize her moves like a gymnast during a ribbon routine. It's great to see an artist enjoy her music just as much as we do.

Of course, the force of nature routine would be nothing is her music wasn't so dynamic. Even the songs that I tend to skip when listening to Youth Novels and Wounded Rhymes have a new energy when her and the band are cranking it out at high volumes. You gotta hand it to Klara and Jo for making "Silent My Song" a true wonder to behold.

Thus, her crowd pleasures like Rich Kids Blues, Youth Knows No Pain, I'm Good, I'm Gone and Dance, Dance, Dance will probably make your head explode when you see her live. She's got an awesome backing band who pounding away and offered ample vocal support. On top of that, you have the lights and smog effects to make her look like a pop rock goddess.

I usually say that I rather see bands and singers in small venues. It's just a more personal, intimate experience. I say this now because the other time I saw Lykke was at (Le) Poisson Rouge in 2008 when she did that odd, in-the-round show. This was just when she about the break out and subsequently, she was the name to drop. Back that I thought she was great. Tonight's show, I think she even better now. I would call her an epic spirit. She does come to life on a bigger stage.

My only complaint about tonight. Hey, what happen to Breaking it Up? Come on, girl. You don't like that song anymore. That's like the perfect audience participation song.

Now, we have my buddies of First Aid Kit. I congratulate them on making their New Jersey debut. They are among fine company, now. I feel spoiled seeing them so many times and having them play my last MS.com Presents Show at Joe's Pub. At this point, I'm say to myself, "Another brilliant performance... again." I waiting for them to slip-up or make a bad song so I can convince myself that they are human.

I kid, they are just gifted kids like you and me, trying to make sense of the world using a guitar, keyboards and their creativity. The new album, A Lion's Roar, should be another stunner. They played a few new tracks from the album. You can tell they really dig the title tracks because both of them get into some serious headbanging.

After it's January release, they'll play a big tour with stops at Webster Hall on March 28th and Union Transfer in Philly on the 31st. If you don't go to either of these shows or take a listen to the album, I don't want you coming back to my site. Full dates over at their Facebook page.

Kurt Vile & The Violators / Blues Control / Far-Out Fangtooth @ Union Transfer

Time to get back to the gig review mode. Going back to last Saturday, it was a good opportunity to visit the much-talked about new concert venue in Philadelphia, Union Transfer. I wasn't going to let my visit be some run-of-the-mill act, it had to be somebody who could make me believe again that good music and quality songwriting counts. Indeed, local brother Kurt Vile took to the stage for an inspired set featuring the great songs off his glorious album, Smoke Ring For My Halo.

The setlist:

• Blackberry Song
• Runner Ups
• Jesus Fever
• On Tour
• Freeway
• Ghost Town
• Hunchback
• Freak Train
• Peeping Tomboy
• My Best Friends (Don't Even Pass This)
• Puppet to the Man
• Society Is My Friend
• ENCORE: Baby’s Arms
• Laughing Stock
• Downbound Train (Bruce cover)

Let's just lay it out here, is there anAmerican male singer-songwriter in the past 2-3 years better than Kurt Vile? I can't think of any off the top of my head. The last time I saw him live (opening up for Real Estate at Maxwell's), I had this to say, "the man might be the most talented indie rocker that you're not listening to on a regular basis." Strike the the "you're not listening to" part and the statement still holds true.

Sure, you can name drop some legends to compare him to, but he's carving out his own style. The grungey bluesman, the sensitive troubador, the well-traveled poet, tortured romantic -- he's anything you want him to be. The new album (easily making it a Top 10 of the Year) is such an easy album to like, with lyrics you can understand and just the slightest of edge in a song like "Puppet to the Man". The rest of the album makes for good travelin' music. Kurt can ride shotgun on my next roadtrip, anytime.

As for his show, he's just a bit more open from last time I saw him. Since he's headliner material, he's starting to come out his shell. The two previous times I saw him, he would hide behind his long hair. Now, he looks more comfortable on stage when the spotlight is just on him. When he has the full band (including members of The War on Drugs), his vocals get amplified. So far the crowd pleasures like Hunckback and Freak Train, he lets the yelps and deep passages run wild.

It's good to see that one of the best in music comes from my old stomping grounds of Philly. Come on my now NYC people, time to give some props to that city 100 miles south.

As a side note, that whole Kurt Vile/Bank of America thing and Pat Stickles -- a non-story that was turned into another non-story.

High marks for the two opening acts, who had two different styles. Blues Control ... not a blues band. They are two people at keyboards and samplers and no lyrics creating experimental electronic music. So the end results is this High Places meets Philip Glass menagerie. "Boiled Peanuts" would be a good song start with. The piano over programmed beats works well.

I shall give a few props to Far-Out Fangtooth, starting off with that wicked band name. Another local band, the four-piece have a deep 60s psych stomp feeling with even a dose of down-home southern gothic rock. Every song delivered a good heavy, almost menacing atmosphere -- just like my people in Black Angels. Check out this track called "What I Have Hurts".

Now for the new space, Union Transfer. Man, this place is dope as hell. It's a mid-size venue on Spring Garden, not far from the Electric Factory. It's housed in the old Spaghetti Warehouse space (which they kepot the orange-green neon border outside as a homage), so I was trying to remember which was where there before. Plenty of space and open sightlines for everybody.

There's bar space galore, with one in the main area, and another in the back if you want to chill before, during and after the show. It's an all ages venues, so you can't bring drinks onto the main floor (must save on cleaning up the place). The decor is suppose to resemble a turn of the century train depot, so it's dark wood all over the place and old timey signage. It kind of reminded me of the Country Bear Jamboree at Disney World.