This is a press pic by Stefano Giovannini
Live shots from the show here or here.

After a not-so-fun-fun-fun-fest and a canceled show, Cat Power had some making up to do on this visit back to Austin to make good on her reschedule. I’ll save you a little suspense: she made up good.

A few numbers off Jukebox and an apology served to clear the lingering air of the past. Whether they were as concerned with a proper apology or not, the packed crowd seemed more than willing to give her the benefit of the doubt, cheering her on as she crept along the stage, pausing to crouch down and sing to pockets of fans. Though I’ve never been blow-away by Chan Marshall the recording artist (The Greatest lingered in my CD rotation for a while, but Jukebox came and went all to fast), I realized that night that there’s another half I’d been missing: Chan Marshall the performer. With the dark blue haze of the stage lighting obscuring our view, she’d reach down, tilting her head and even kneeling, to bring up deep, soulful tones reminiscent of old jazz performers. Without a guitar she was free to roam about the stage at will, sinking below our view into the audience up front or standing strong at center stage. I left feeling that I ought to give Jukebox another shot - with the image of “performer” in mind, a cover album at least seems much more appropriate.

I think it’s sufficient to say I couldn’t get enough of Marshall’s performance. Unfortunately, I mean that quite literally. As stunning as she was, her presence on stage seemed to wane more and more often throughout the show. An intermission featured the band’s very-British keyboardist playing an awful rendition of “This Little Light of Mine” and long solo breaks often left her absent from the show entirely. Worst of all, backup vocals (on songs like “The Greatest”) that have become some of my favorite parts of the albums went missing.

These complaints are more about the style of the show of course, and my final word is still an expression of my amazement of Marshall as a performer. Even during songs off The Greatest she managed the same soulful girl-croon that I’ve been raving about. If nothing else, the show healed all wounds with her Austin fans, and, at least for me, left a feeling that I needed to go back and give her catalog the time it deserved.

For those of you who’d prefer I shut up and just post music, here ya go:
Cat Power - Metal Heart

Note: Unfortunately, camera issues marred our pictures from the show, so these are stock photos instead. Apologies. – Ed.

Let me just put this on the table and then back it up with some facts: Shearwater are the best “new” (to the indie-mainstream) band in the world right now. Like Spoon’s Ga Ga Ga Ga Ga last year, Shearwater answered their newfound media attention with an album that completely surpassed all expectations, one that will probably go down in the books as the best album of the year (of course, I’m talking about Rook here). Jonathan Meiburg is perfect: he has a knack for weaving intricate and often delicate music into an ether of pure energy, cycling seamlessly from crystalline falsetto and string arrangements to caustic guitar tones and barbarian howls, holding the creative reigns of an extremely talented set of musicians and pushing the possibilities to the extremes; perfect.

To see Shearwater live, as I did once again this past week, is to see the amazing qualities of the band all Gestalt-ed into one grand performance. I was initially worried that, playing outdoor at the Mohawk, the performance would not live up to the one the band gave a couple months ago at The Parish, where they presented Rook in its entirety, hiring on a harpist and various string players to fill in the gaps left by the core members. Unfortunately, this largely proved to be true: the sound quality at the Mohawk wasn’t stellar (it seemed that the right channel was faltering mid-way through the show, and the e-piano was mixed insultingly high), and many of the intricacies of the past show that I was hoping to relive were lost somewhere in summer night.

With distorted highs and inaudible calms, the dynamic range of songs like “On The Death of The Waters” (i.e., most of Rook) was much less stunning, but still strong. On the upside, the band did play to perfection what is still one of my favorite Shearwater songs, “Seventy-Four, Seventy-Five”. Under the staccato of a pounding piano and the wail of a trumpet the band roared through the powerful track off Palo Santo, lighting up the entire stage, shitty sound-system and all. With few exceptions, the louder songs prevailed, though only because they were most likely to be properly heard, and the softer didn’t, only because they couldn’t quite compete with poor sound, the wail of sirens, and the rest of the intrusive city ambiance.

I’d never miss a chance to see Shearwater, and even in the worst situations (at least sound-wise) the band still easily impress, adapting to their environment and showing their flexibility in moving from studious composers to seasoned outdoor rockers. That being said, I’d prefer to see Shearwater in a venue more suited to highlight the band’s gorgeous intricacies. Alas, bad sound or no, Shearwater are damn near perfect.

Continue reading Live Review: Shearwater (September 4th :: The Mohawk :: Austin, Texas)

NOTE: The Editors, nor the author, were able to attend the show on the account of its being sold out. As such, all review are purely inferential.

Review:

HOLY SHIT

Old Videos:

Continue reading Show Review: The Hold Steady (August 7th :: The Parish :: Austin, Texas)

Photos: Thanks to Ultra8201

The Raconteurs (you know, Jack White’s other band) recently took to the streets to promote their new album Consolers of the Lonely and yours truly had the fortune of catching them during their two-show visit in Austin, TX. The show offered big riffs, catchy hooks and a side of Jack White that is rarely seen.

After a mildly entertaining set from Birds of Avalon (I get it, you listen to Sabbath and Floyd) a near capacity crowd at Stubb’s BBQ was treated to a true display of what a rock show should be. As a slew of roadies set up for the Rac’s, 1930s blues was blasting from the speakers, a sure sign that Mr. White was near. The band took stage to a raucous applause and launched straight into the titular opening track from the new LP. When they slid right into their next song, the up-tempo “Attention”, they let it be known that they were here for one thing and one thing only: to rock your goddamn face off.

Continue reading Live Review: The Raconteurs - Consoling the Lonely, One Bitchin’ Track at a Time (Stubbs 5/02/08)

Photo BruceSpringsteen.net

Holy Shit.

Craig “The Shark” Finn

The only thing better than seeing Art Brut and The Hold Steady share a bill is seeing The Hold Steady play again like two months later. The boys from Minneapolis made their way down to Austin Thursday night to shake the dust off our normally monotonous concert going experiences. There are few bands that compare to The Hold Steady on any level. They are truly a gift to any appreciator of live music.

Continue reading Live Music: People Touching People That They Don’t Even Know - The Hold Steady Live at Emo’s