Here’s ‘The Wanting Comes in Waves’ live on Leno in 540p HD (114 MB) or iPod (37MB) formats. The performance features Lavender Diamond’s Becky Stark (in green) on backing vocals along with Shara (in white), Colin, and the rest of The Decemberists.  As you’re watching, imagine everything twice as loud and Shara even more animated and you’ll get an idea what the live concerts are like.

Enjoy!

Tickets are $90 per day, available Friday, January 25th.

The Kronos Quartet are playing a concert in February where they will perform Clint Mansell’s Requiem for a Dream suite.

(Via Choire at Kottke.)

A guy’s gotta dream.

Looks pretty damn great (Saturday especially). I really wish I could go this year (though three days in a row might be pretty exhausting).

I just want to be able to see my favorite bands without some inebriated douchebag loudly & violently humping the monitor speakers during quiet songs in a cloud of his own cologne.

The article really hit home with me because it describes a trend that I’ve observed over and over with artists like Maroon 5, Guster, Zero 7 and Thievery Corperation (the last two thanks to Garden State itself). This part really rang true for me:

When I say that I want as many people as possible to like my favorite bands, what I actually mean is that I want as many people as possible to like my favorite bands for the right reasons.

A tip of the hat to Hodgkins for explaining to me how I’ve always felt.

(Via Kottke via Waxy.)

Why!? Why!?!?! Oh the humanity!!!!

Fuck… and that’s not mentioning Bauhaus.

Before I even got in the door to the show, I was offered a little (about 2 cm diameter) black button with the band’s name in green. It was kind of a nice way to start off the evening, and a cool thing for a band to do for their fans to help word of mouth (stickers do the same thing, but I’m never sure where I should put them). Sadly once I got in I realized that this was the only Goldfrapp merchandise I was going to get: they weren’t selling anything inside (there wasn’t even a table set up). This was a little disappointing since I’d love a well designed Goldfrapp shirt, I can only guess that they didn’t want to drag all their merchandise halfway across the world for just one show in NYC.

I didn’t know that the show was sold out, so I was lucky that I arrived early enough to stake out a spot on the railing overlooking the front pit. After a bad experience with the pit at an earlier concert, I decided to avoid it this time. One problem I had at the previous concert was that the sound was poorly balanced to the point where the bass was a bit too loud but the vocals were near impossible to hear. While waiting for the concert to start, I was worried this would still be the case because someone in sound booth had left the bass up way too loud on the pre-show background music. Fortunately this was fixed before the show started, but I still would be hesitant to recommend standing in the front for any concert at the Nokia Theatre for this reason.

One thing that surprised me as I was doing some people watching before the show started was the composition of the crowd, which was mostly people in their 30s or late 20s: I was probably one of the younger people there. There was also a large number of gay couples at the show, which I guess makes sense considering electroclash nature and roots of Goldfrapp’s music.

Anyway, the show eventually started, without an opener (tough they had never announced one), and they went right into Train with full-on craziness. Perhaps you’re wondering what exactly constitutes FoC, well allow me to explain. First of all, let me describe the outfits of some of the performers. Imagine black tank top shirt (that dips low under the neck), but instead of being sleeveless, like most shirts of this type, this one has big poofy & ruffled sleeves like you might find on a old-fashioned ball gown and was worn by the (muscular male) drummer of the band. Meanwhile the female keyboard player had on a similar outfit except hers was covered in sparkly sequins. The guy manning the guitar (and more synths) really took it to the next level though. This guy, who sports long hair with full compliment of facial hair (beard & stash) and is probably about 6 feet tall. He was basically wearing a giant shiny white bag for the concert along with big white lace-up platform and heel boots that probably added at least 8 inches to his height. Amazingly ridiculous… Alison looked the most normal of the bunch wearing a tight black jumpsuit and black heels, but I was surprised to see her with straightened hair as I was used to seeing it curly as on the cover of Black Cherry. You can see the people I was mentioned in this little backstage video (bagman is the one wearing shiny underoos).

Anyway, the FoC doesn’t end with the outfits though. For the opening song they had full lights and strobes going and wolf dancers. To be clear about the wolf dancers I’m talking about two women with very expressive snarling wolf masks on stalking around the stage and menacingly dancing to the music. Oh yeah, and besides the masks, what were they wearing? Metallic brown bikinis. See but it’s okay because they’re from the UK.

The final stroke of FoC came at the end of the song when Alison began dry-humping a Theremin. Again, they’re from the UK so maybe that’s standard operating procedure over there.

The concert continued after that and remained awesome throughout. Alison was amazing to watch live (because she really hits all the crazy notes just like they are on the records) and the band basically belted out a whole bunch of songs: it was more of a shut up and play performance with only short breaks between songs rather than lots of waiting, tuning, or joking around. The dancers returned for four more songs throughout the set sporting a variety of costumes such as pearly white body-suits and horse outfits complete with tails and masks that looked similar in appearance to gigantic white rooks with broken mirrors glued all over them. Goldfrapp played a large variety of stuff from all their albums including their newest album Supernature which all sounded awesome and overall the concert was simply amazing because of the barrage of amazing sound.

After the concert, there were people passing out nice coaster-sized promotional cards advertising the new album, which will be available here in the states in a few weeks (on March 7th). Which leads me to my next point: the UK release date for Supernature was August 22nd, 2005! NME called it “The Best Pop Album of 2005″ (I’m reading from the card here). Yet over on this side of the Atlantic, we have to wait half a year more to get it. What the Fuck!?!

Thankfully there are a few things that can help suppress the infection of this horrible wound. First of all there is the Number 1 EP (↪iTMS) that mentioned in a previous post. Next up is the video for Ride a White Horse, which was just released as the third single for the album in the UK. It’s more messed up than the video for Number 1, to the point where I’m not sure if I even like it, so enjoy!

Finally, there’s the album itself which is due in a few weeks. I guess that Mute (the US label) decided that they had screwed American customers enough and decided to throw in a bonus DVD with a whole bunch of nice looking extras. Check it out on Amazon. Must… pre-order… now…

Update (2/21/06): Oh La La is the iTunes Free Download of the week! It’s the third single on Supernature (released after Number 1 but before Ride a White Horse I think). It’s an awesome track, but I’m trying to decide if it’s a good thing that it’s featured on iTunes like this or not… Anyway, grab it while it’s fresh (or free).

Ambulance LTD & We Are Scientists (?iTMS)
The Bowery Ballroom
October 27th, 2005

We Are Scientists rocked the house to start it off. They joked around constantly between songs (which is something fun that I wish more bands did), and performed their music very well. I used the verb performed here intentionally because they were doing much more than simply playing the songs as they were written. All three members of the band were very into the music and jammed along with it throughout the show. The best part of the show was definately the end when the singer and base player both jumped on top of the drum set to yell into one mic. Crazy awesomeness. Check out this picture of the crowd while they were on stage (sadly, I’m not in the pic; I’m a bit farther off to the right).

Ambulance also was awesome. They never disappoint me. Really you could read my review of their earlier concert and all the same great stuff pretty much applies to this concert too. They did reveal that, as this was the last show of the tour, they were planning on taking some time off an recording their next album. Apparently most of the songs are all written and ready to go, so hopefully there will be some new Ambulance in 2006.

The venue for this concert was the The Bowery Ballroom, and I have to say it’s one of my favorite venues yet. It’s fairly small and intimate so you can really see the performers (for my SoCal friends, it’s similar to but a bit smaller than the Henry Fonda Theater). Check out this picture of the crowd taken by the drummer of We Are Scientists to get a better idea (sadly, I’m not in the pic; I’m a bit farther off to the right). Additionally, the sound of is well balanced and (especially when you’re near the front) not too loud. Plus the decor and seating areas (both downstairs and on the balcony). One word of caution however; there is very little space backstage to store all the equipment so they usually unload it on the left side of the stage (from the audience perspective) between sets. If you’re standing there they will have you back off I’d recommend staying on the other side of the stage.

Jem (?iTMS) & Josh Kelley (?iTMS)
The Bowery Ballroom
November 7th

I’m not entirely sure why Jem or her managers decided to tour with Josh Kelley. He’s by no means a bad artist, but he doesn’t really match Jem’s style at all. Basically he’s very similar to light-rockers like Jason Mraz and John Mayer but with a bit more especially Southern rock influences courtesy of his Georgia heritage.
He did do a nice cover of “The Weight” by The Band, but I found most of his stuff to be a bit overly sappy & sentimental or worse, bland jam music. I talked to a few of the people around me when we were waiting for and it from the ones I spoke to seems like his main fan base is teenage women (who left after his set without hearing Jem), hrm…

On the other hand, Jem, once again amazed me with the way she blends disparate influences and styles and weaves them together to create something new. This was exemplified by her cover of Coldplay’s hit “In My Place” that transformed it from a mellow rock song into some kind of beat-box reggae tune. Besides her musical mash-up skills, Jem is just enthralling to watch perform. She dances around the stage acting out little parts of her songs and bobbing to the music. She has some kind of magnetic charisma when she is on stage that is could probably be used for Jobs-esque RDF like persuasion if she wanted. Of course, it helps that she is exceptionally attractive. This concert was no exception as she was wearing some tight jeans and a teal sequined sports-bra that was loosely covered by a ripped-up tank top that showed off her midriff (sadly no Keds though)…

Back to the music part though, one new addition to her band (since I saw here at Coachella in May) was a DJ (a bloke from Bristol by the name of Sir Bean) spinning a pair of turntables. He “mashed some beat” before the show started and provided some extended intro’s to some of her songs. However the largest thing he added was a few of the effects from some of Jem’s song that had previously been missing in her live performances. I’m specifically thinking of the children chanting something like “dam bab jocky jem” on They, some of the Hawaiian music background sounds on Wish I, and, perhaps most prominently missed it its absence, the violin strings from 24 (I get the feeling Jem agreed because she played “air violin” throughout the song).

The rest of her band was also excellent. At one point, when Jem was comparing Wales (the flag of which hung from the turntables during the concert) to the (American) South, the bass player launched into a spirited impromptu performance of “Sweet Home Alabama” which the rest of the band promptly picked up and performed. The same bass player also hid in the audience before the encore and jumped up on stage from there to surprise Jem. However my favorite part of the band’s performance was their how they syncronized jumping to the jamming of the chorus of 24. It made me want to jump all around with them.

As far as new songs, Jem did play one new slow-ish song that I think appears on one of her UK singles. I’m hoping it’s released on the iTunes Music Store soon. One related thing worth checking out on iTunes is the Jem: Josh Kelley Tour EP which contains two reworked versions of each artists songs. I can’t vouch for the Josh Kelly stuff but the acoustic version of They is excellent, and the Fatboy Slim Remix of Just a Ride is pretty good as well.

Aimee Mann (?iTMS) & Keren Ann (?iTMS)
Tribeca Performing Arts Center
November 20th

The opener Keren Ann was a soft-spoken songwriter of whimsical folk-influenced tunes. She live in NYC part of the year and Paris in the other, and has a whispery French accent that meshes with her music. She performed with a trumpet player who provided the background to most of her songs. Both her guitar work, and the trumpet often used a strong echoing reverb that characterized most of the music she played. Another thing I found interesting was how her songs would often alternate between extremely quiet parts where she would just be whispering into the microphone and barely plucking her guitar and much louder parts where she would be singing and playing very loudly. Definitely worth checking out if you like female vocalists or if French folk sounds interesting to you.

There seems to be something about New York that often causes tours to end here (of the 8 concerts I’ve seen in New York year, 4 have been the last date of the tour). I don’t know if it’s the geography or the fact that many musicians are from New York and so they want to end their tour at home or something completely different. In any case, I think it’s mostly a good thing, especially with Aimee Mann. After her band had come on stage and performed their first song, she talked a little bit about how it had been a long tour and since this was her last show she had a “what the fuck” attitude. This seemed to translate into a concert that was more impromptu that most performances I’ve seen. The best example of this came about half way through the concert when she announced that she would start taking requests for songs by notes scrawled on paper airplane, this, of course, generated a flood of paper folding among the audience. It was really neat to see her sort through all the notes and decide what to play. Another fun thing that she did was to jump in the air and then land jamming the final note of the song, which for some reason seemed old-school but was nevertheless fun to watch. However, my favorite moment of the concert was when she introduced Save Me, the single from the Magnoila soundtrack, as “the song that lost an Oscar to Phil Collins and his monkey-man music” (referring to Tarzan). This was greeted by loud cheering as the song seemed to be an audience favorite.

The entire concert was immensely enjoyable because of the excellent performance and wonderful energy Aimee and her band brought to the stage. More so than any concert I can remember attending, the band seemed to be interested in getting out on stage and giving it their full. For the encore Aimee ran back out on stage and proceeded to explain that the band is limited to ten minutes because the venue had to close at midnight. Then she started verbally going though a few songs that she could play, discarding some because they were too long, then she exclaimed into the microphone “God, now there’s only nine and a half minutes!” and proceeded to play three more songs with even more enthusiasm than before. It’s hard to define exactly one or two things that made the show so good, but I think it’s fair to say that in her 20+ years as a performing artist Aimee Mann has nearly perfected the art.

Bright Eyes (?iTMS), Feist (?iTMS), & The Magic Numbers (?iTMS)
The Landmark Loew’s Jersey Theatre
November 25th

The Landmark Loew’s Jersey Theatre is an classic old movie theater with cushy red seats, a large foyer & balcony, and an extremely tall ceiling covered with all types of guided decorations. For you Southern Californians, it’s very similar to the Rialto Theater in South Pasadena, except it’s about three times as large, has good sound, and space between the rows of seats so your knees don’t touch the row. Unfortunately, it’s currently undergoing restoration, and it just so happened that the row that I was sitting in was little more than a line of folding chairs. Luckily, despite the fact that the concert had sold out, there was an open seat in the row across from me which I snagged after the first performance. Wow, what a difference it made; when I sat down I totally sunk into the thing. The theater (or theatre as they like to spell it) doesn’t normally host concerts, but I think Bright Eyes chose it for that very reason since he doesn’t play Clear Channel or other corporate venues. It was a bit of a challenge to get to from NYC since it’s across the river in Jersey City, but the PATH Train proved to be pretty easy to navigate.

The first band to play, The Magic Numbers, was from London and sounded a lot like an English version of the Charmparticles (which probably doesn’t mean much to anyone). They were a basic Brit-Pop band with lots of hand clapping an tambourine. Though I didn’t like their sound that much they did put on a pretty good performance.

Feist was next up on stage playing with a full band. She started with a rousing version of When I Was Young Girl with lots of extra reverb. She went on to play a variety of songs, including a new song that I didn’t recognize about someone tending a lighthouse while waiting for his/her lover to return. For this song she used two mics for her vocals. One was the normal mic, and the second was connected to a series of devices controlled by foot pedals. Feist used these to loop snippets of guitar and vocals to create a backing chorus of her own performance. If you’ve ever seen Howie Day (?iTMS) live, it’s very similar to the effects he uses. Later in her performance, she did an amazing cover of Nina Simone‘s See-Line Woman where she used the looping vocals. She followed this up with a version of Mushaboom with Bright Eyes and his band. This, of course, generated lots of high pitched screams from the teenaged females in the audience. For her encore, Feist started by quizzing the audience about if they had ever had their heart broken. She explained that she thought heartbreak was good since we grow from it and that we should seek out heartbreak rather than avoiding it because of this. Feist finished by playing the title track of her album Let it Die which is about a first heartbreak.

Overall I was amazed by Feist’s performance which gave a whole new dimension to her songs. She is a great performer and likes to joke around a bit with the audience between songs which made the whole experience lots of fun. My only disappointments were that she didn’t play One Evening or Leisure Suite, and I was really pissed at myself for missing her when she was in town for CMJ Marathon back in September. Luckily she’ll be back in town in February at Webster Hall which I definitely plan on going to see. It’s hard for me to emphasize enough how great her performance was, so instead of more flowery prose I found a live recording of her doing a solo show back in 2004 in Rotterdam. Unforunately the concert is in RealAudio format, but I did a little recording and was able to convert the whole concert into a bookmarked AAC file (.m4b), which I’ve put online for your downloading convenience. Get it here (25 MB). Note that this file is 27 minutes long should require iTunes 4.9 and QuickTime 7 or later to access the bookmarked tracks within the file (so you can jump to individual songs).

As for Bright Eyes, I’m not going to say much about him since I’m not very familiar with all his work (I just have his newest pair of albums). He was very drunk for the show and talked a lot about how he was having a nervous breakdown before the show but all the “beautiful people and music” made him feel much better. He had as many as 7 other performers on stage with him during his set playing a variety of instruments including 2 drum sets, a variety of synths, an electric piano, both electric & acoustic guitar, upright & electric base, harp, and trumpets. Conner spent most of the show on acoustic guitar except for Gold Mine Gutted, my favorite song of the set, where he played the electric piano. Though I didn’t know much of the music, I had quite a bit of fun watching him.

1. Talking: While quiet conversation is okay between songs, it is not acceptable to talk to you friends during a song because A) you don’t know or don’t like the song, B) you really like the song and need to tell your friend this, C) you need to decide who to call on your cellphone (see below), D) any other fucking reason. If you need to talk about something urgently then step out to the lobby.
2. Cellphones: People had lots of fun at concerts before cellphones were around. They aren’t necessary at all for concert enjoyment. I can’t understand why people need to constantly use them, they take crappy pictures (use a real camera if you want pictures) and the sound quality is very poor if you’re trying to do any recording on them (use a real recorder). If you need to call your friend, you’re annoying. Do you need to make them more jealous that you’re at the concert and they are not or do you just have something to prove? Finally (as a little throwback) you don’t need to repeatedly flip your phone open to show off how bright the backlight is during a concert. Waste your battery when it’s not distracting to others.
3. Cheering: There are two times when it is appropriate to cheer. Either after a song is done or after a solo or similar demonstration of talent. Cheering any other time is irritating for others trying to actually listen to the music.
4. Opener Acts: Even if you don’t particularly like them, at least follow the rules I have laid out above. They’re doing they’re best and deserve a little respect. Besides, the main act will be on stage for you soon enough.
5. Cutting: You learned in grade school not to cut in lines, don’t forget this at concerts just because there are lots of people. The same goes for cutting to the front: the people there suffered to get to that spot before the concert started. You don’t have any right to push up there, especially during a set when your pushing is interrupt people enjoying the music and standing in front of people will obstruct the established line-of-sight of people behind you.
6. Singing Along: This can be a fun way to build the excitement and encourage crowd participation for some songs of certain styles. However please do not singing along means just that: singing. It doesn’t mean yelling at the top of your lungs out of key. Trust me, if everyone is singing along it will be plenty loud without the shouting match between you and your friends.
7. Requests: Do you see those pieces of paper taped down in front of each of the band members? That’s called a set list, they do it so everyone stays on the same page with what is played when. Also, note the headphones that look like hearing aids that the band members wear. That’s called a monitor, it is used so the musician can hear what is being played instead of the crowd. So please don’t yell out requests, you won’t be heard and even if you are it won’t change what’s going to be played. I promise they will get to your favorite song soon enough; band’s don’t make money by not playing fan favorites. One more thing, yelling requests during a song is just fucking rude for reasons elaborated upon above.
8. In & Out: If you need to leave the crowd area for any reason during the concert, please wait until between sets to come back or watch from another less-crowded area for the rest of the show. I don’t care if you need to get your jacket to beat the rush or need to use the bathroom or if you’re a mom checking in on your little pre-teen. It’s distracting just like cutting.
9. Long Hair: If you have long hair please take steps to contain it. You will likely be in close proximity with others at a concert, especially if you are close to the stage. So don’t put it a ponytail that sticks out behind you or go whipping it back when it’s not in the right position on your head. No one behind you wants to eat your hair or have their nose tickled. Same thing with hats: no big hats that hit others or block people’s view.
10. Marijuana: Is it necessary to make everyone else smell your illicit substance?. Smoking tobacco is illegal indoors, just because marijuana is already illegal doesn’t mean you can toke at a concert. Please consume your weed before the show. This is more of a minor annoyance to me than a real problem, but I still feel it bears mentioning and it rounds out my list to an even 10.

As you can infer from the list, I didn’t have the greatest time at the concert, though this is no fault of Guster. Every item on this list was broken on multiple occasions during the show. This is simply unacceptable. The point of going to a concert is to listen and enjoy the music. If you’re not doing that, or you’re doing something that prevents others from doing that, then you really shouldn’t be at the concert. It could be the the kids (though they weren’t the only poorly behaved group there and some were fine) or New York Guster fans (though I doubt this) or a general New York thing (though other concerts I’ve been to have had no such problems), so I’m unsure if it was just a fluke that I had such a bad experience. In any case, I’m pissed that I spent $50 for a show I couldn’t enjoy because of the absolutely poor and selfish behavior of others.

So the great news is that they recently completed their new album which will be released early next year. I’m not sure if I’d be able to wait without a few things to tide me over:

First up is the new video for the the song “Number 1” which features all all kinds of weirdness. Well not really all kinds, just the people with dog head kind. I just wish there was a higher resolution version available.

I used QuickTime Pro to extract the audio from that video and make myself a nice little single for my iPod. Download (3.3 MB). I also ordered the CD version of the single which looks like it has a couple of remixes and B-Sides.

Best of all though is that I’m going to see them at the Nokia Theater next month. Do I need another great reason for living in NYC? Well how about the fact that this is their only US appearance?

Update (11/8/05): I’m kind of obsessed with this song. I love the lines: “You’re my favourite moment. You’re my Saturday.” Anyway, I fixed the link to the music video so try that again if you couldn’t get it working before. I also reworked the audio rip from the video to cut off the leading and trailing silence and normalize it to take care of the low volume level. Use the link above to (re)download.

Update (11/26/05): Number 1 was added to the iTunes Music Store about a week ago, so take a listen to it there.

Did I mention that I dressed up as Waldo for Haloween one year? This year I’m going to be a lonely & sleep-deprived college-student who procrastinates about doing his problem sets.

Update: We have a winner! John “Silent Bob’s Right Hand Man” Feldman gets the star. Congratulations John, now everyone visit his website. If you’re still wondering about where I was (what’s wrong with you?), check out this picture.

The venue was a rather nice concert hall that apparently has something like four stages on different floors so that they can put on different events at once (or have a variety of different music themed rooms) for parties. The layout of the stage that Mike was on was very similar to the House of Blues in Hollywood (though the general atmosphere was much better). Basically it was a stage about a bit narrower than a basketball court in a square room about half again as large and square with a balcony that overhung the floor in the back. The floor was just open for standing except for some small tables along the walls on either side along the walls.

The opening act, Orenda Fink was very mellow, it seemed very similar to Cat Power, and consisted mostly of Orenda singing and occasionally playing some guitar with her band-mate (missed her name…) playing keyboard and doing backup vocals. I might have expected this given that Orenda is half of the band Azure Ray. However, Orenda’s music lacked the mix of strings and piano with the synthesized sounds that I found very appealing about many of the songs on Azure Ray’s most recent album, Hold on Love. Don’t get me wrong here, I really like mellow music but it didn’t match with what I was expecting from someone opening for Mike Doughty, who is definitely not mellow. They did do a very nice cover of The Flaming Lips‘ Do You Realize that worked especially well with just keyboard and vocals.

True to form Mike Doughty started off his set joking around with the wordplay, “The name of my band is the name of my name!” before introducing himself. This attitude, which carried on throughout the concert, kept the audience engaged and excited throughout his set. At one point, after breaking a string and holding up his guitar by the slacking wire he proclaimed “I would get a backup guitar, but everyone seems to love the drama.” He also made up extravagant names for his drummer Pete McNeal that became more flourished with each telling; what stated with “Raul” became something like “The Duke Raul Ledgebar von Faren; a mysterious man cloaked in enigma and mystery” by then end (I wish I remember exactly what it was because it was even better than that). In another humorous moment during the show, the upright base player, Scrap Livingston, delivered the random “Scrap-Fact” of the night (which was: “The shortest verse in the bible is ‘Jesus wept.’”).

The band’s performance was excellent with a precise, yet free flowing style that complemented musical style very well. I was particularly impressed when, while Mike changed his guitar string, the band, consisting of the aforementioned Pete & Scrap as well as Dan Chen on keyboards improvised a tune that morphed into the next song of the set as Mike finished tuning. In another part of the show, Mike ushered the rest of the band of the stage for the “Show Within a Show” were he played a few songs from his earlier solo effort Skittish & Rockity Roll albums (his newest album Haughty Melodic was first recorded with a full band) as well as St. Louise is Listening, a Soul Coughing tune.

Another part of the praise I seem so desperate to heap up is how great Mike treats his fans; before the last song of his encore he announced that he’d be signing stuff after the show at his T-shirt booth. True to form, he showed up twenty minutes or so after the set ended eager to actually talk to each of us there, pose for pictures, and sign all kinds of merchandise. This provided me an excellent opportunity to give him a DVD of Battlestar Galactica Season 2 Part 1 since the whole band apparently loves the show. Mike’s response when I gave him the disc: hand’s it to his manager(?) and says “Guard this with your life!” A man after my own heart… sigh… I hope you enjoy every minute of it Mike.

For your curiosity/ammusment, some pictures from the show are available on Mike’s Blog.

-If you go to a concert at the Mercury, make sure to show up early, really early. I arrived at 10:20 PM in hopes of seing Robbers on High Street who were scheduled to go on stage at 11 PM. No dice; instead I end up waiting in line until about 12:40 PM and get in just in time to catch the last part of Clap Your Hands Say Yeah (who were pretty good and full of energy). The reason for this seems to be that the club was so small (the stage area was about the size of a school classroom) that they could only let a limited amount of people in at time, so people in line had to wait until people left to get in and see the show.

-Once I got in, I realized just how cool such a small venue could be: after Clap Your Hands finished up I was able to walk right to the front of the stage to stake out my spot for Ambulance (in huge contrast to the pushing that defines Coachella and most other concerts I’ve been to without seating). Even once Ambulance started, I didn’t have people pushing on my back and sides.

-First thing that I noticed while watching the Ambulance guys set up right in front of me: Benji Lysaght has grown a thin mustache and has consequently gone from looking like Elijah Wood like he did at Coachella to a young looking Bob Dylan. I was so close during the concert that I could see him scowl in concentration while playing. He also closes his eyes most of the time while playing. It’s very strange looking and hard to describe accurately. No offense, though because he still plays some amazing guitar.

-Ambulance played 5 new songs during the night, about equal to the number of songs from their current LP. I recognized one of them, the song they opened with, as the currently untitled song that I heard them play at Coachella and the Glass House. Here is an acoustic version of it that I ripped from a streaming download (so the quality isn’t that great). I guess this means the new album is coming together!

-Disappointingly, Ambulance was back to just their founding members for the show; meaning they had no keyboard player. As my friends from Coachella know, that dude is one of my favorites because he mashes up keyboard while he is jamming. I hope this was a temporary thing, maybe he couldn’t make it for this show or something but maybe he got kicked out after their major tour ended. I’ll just have to go see them again to find out I guess.

-While the NYC subways are for the most part excellent, weekend nights seem to not be their strength. For example, while it took me about 35 minutes to get to the concert from my apartment, it took me almost an hour and a half to get back. Some of the complications included having to wait 20 minutes or more for a train, having to change my route because both the B & D trains going uptown were not running as scheduled, and, my personal favorite, an emergency brake that went off by accident under the car on the 7 train causing the operators to have to go out and look under it with flashlights for 20 minutes to fix the problem.

-Finally, on a tangent, I didn’t think I would see those crazy dudes from Dr. Dog again, but I guess I was wrong. If you saw the schedule I linked to above, you know that they played at the show last night too. While I was waiting in line they were loading up their gear into their truck (hopefully it wasn’t stolen this time). Those guys looked fubar as usual though; though the safari hat was not to be seen, the dude with long red hair had some other crazy looking sombrero looking thing on. *Sigh…*