The most tender place in my heart is for strangers

I know, it's been a while since I've posted and I've been to a bunch of concerts in the interim. I will now poorly attempt to recall them all.

The busy week in March. First up was Beach House, a dream pop duo from the hardcore streets of Baltimore. First time seeing them, kind of what I expected. Whispery vocals and minimal instrumentation were the design of the evening. Subtle hints of guitar, keyboard, and drums filled the evening air. Victoria sang with a yearning quality that touched the back of the venue with ease. The "oohs" of "Gila" were the highlight for me, I don't know why, but I always like that part of the song.

Next up was Modest Mouse at Ram's Head Live. I did not like that venue at all for this show. Completely filled beyond of capacity, I was barely able to occupy a spot with a good sight and sound line. But once I was there, MM made all the troubles go away. Sticking with mainly songs from there latest, and no Johnny Marr to be seen on stage, they still rocked the night out. MM are one of the reasons I used to play guitar, not extremely technically proficient, but full of emotion and raucous sound of distortion. Hearing "3rd Planet" was heaven for me, a simple riff to begin the song that slowly builds into a massive supernova and dies down just as quickly. A great night of reliving my college years.

Okay, The Death Set at the Ottobar was just a fun night. Starting with this young, loud, snotty punk band labeled Cerebral Ballsy, they were not PC, uncouth, and made the bold promise of this being a great night. Well, they didn't lie. Followed up by Totally Michael, this one man attack machine was a godsend. Extremely upbeat, self-deprecating, funny, yet good songs, and able to make the entire crowd get involved and throw down in a dance off, I liked him. Plus, one of the greatest lines in a song, "I'm the number one topic in her dairy!!!" Cliche, yet, slightly girly, maybe, awe inspiring when yelled in a room full of young people, totally. And finally, the Death Set, craziness and debaucher in a bottle. Everyone was sweating, pumping into each other, jumping all over the place, and really making the alcohol in our bellies was well mixed. "Negative Thinking" was the highlight, I was lifting people left and right for crowd surfing, while trying to survive the mini pit to my left, it felt good.

Now I want to apologize to the company I was in for the Bloc Party concert, I know I dance like a stroke victim, but I had to, they were so good live. But first of Longwave, I liked them. As someone said, they sound like early Coldplay, but I felt they were a little more Radiohead than U2 for that comparison. Huge sounding songs, with double guitars, and a lot of melodramtic lyrics, word. But Bloc Party owned the night, whatever they were playing, I was probably attempting to dance or something like that. But I was really into it. "Mercury," "Song for Clay," "Banquet," and "This Modern Love" were it for me, wanting to hear those live again made my week. I know this one is a short write up, but it was really, really good.

Matt and Kim were simply fun and adorable. Like a pair of puppies that can play instruments. I was simply in love with them. Wanting to see them for so long, they did not disappoint me. Energtic, fun, talkative, and a little bit buzzed, they were just lively. With their seemingly simply compositions, they added a layer of complexity that evening by switching back forth through songs, jumping up and down, dancing left and right, and being geninuely apprecitative to be on stage. "Daylight" was the highlight for me, their first song off their new LP, I don't want to say it's more mature than their last, but an arua of new blood and life is in their sound, and I really like it.

As for Glasvegas, a lot of emotive lyrics, riffs, and they're Scottish, but man was their set short as hell. And it didn't help that their opener, Ida Maria, simply owned that stage. Like a sober, saner version of Courtney Love, Ida was barking, singing, dancing, and flirting with the crowd. And with songs like "Oh My God," the crowd fell right back in love with her. Need to see her again to relive her set. But back to Glasvegas, they did everything right, but maybe a little too polished and NMElike. They have great songs, "Geraldine" opened the night with promise. And "Go Square Go" has one of the most easy singalongs for the chorus, but it felt a little too thin when compared with Ida Maria. Maybe next time.

Finally, Neko Case, I just want to marry her. Beautiful, funny, dry, and a voice from a higher being, she was .... I don't know what to say. Sticking with songs from her new record and last one, her and the band were as close to perfection as can be. Every song was clear, concise, with a tinge of chaos, and natually flowed into each other. And Kelly Hogan was the best sidekick anyone could ask for, one-liners, that southern twag in her voice, and an amazing voice to back it all up, she made the concert what it was. And she got everyone to admit they were nerds right off the bat, but did it in such a way that it was a complement. I really loved this show, probably the best out of all in this post. As proven by my ability to not convey it properly right now. Until next time.

The west coast has been traumatized and I think I'm the only one still alive...

There are albums that you enjoy, listen to occasionally, and introduce to others casually. All is well with them. But then there are albums that become cornerstones of your life. With songs that bring back instance vivid memories of times gone by. These albums are secrets that you only share with a select few until the time is right.

Jimmy Eat World's Clarity is one of those latter albums for me. Saturated by the angry testosterone of Korn, Limp Bizkit, Kid Rock, etc. I was introduced to Clarity in the summer of '99. Walking into the Zia Record Exchange in Tempe while working a summer job in Phoenix, I was drawn to that record for the main reason most guys are drawn to stuff, because of a girl.

Listening to this record day in and day out, memorizing each lyric, chord, and beat, it was the record that apparently made me a romantic. She and I bonded over this record for the next two years deeply, quoting lyrics, humming the chorus in each other's presence, singing along loudly while driving in the deserts of Arizona basking in its clear night sky. This record and I have an intense relationship that sadly last longer than the one with the girl, but that's another story for me to tell when I am the right amount of buzz with the appropriate company.

So standing in the crowd at the 9:30 waiting patiently for Jimmy Eat World (JEW) to come onstage to play Clarity in its entirety for its 10th anniversary was a tense period. What will I remember, what will I forget, what the heck was I doing here attempting to relive the past in my feeble head. I was ready to leave. But when the house lights went down, I looked towards the stage, at the minimalist backdrop of black and white glowing in the deep blue light, JEW walking onstage and I stayed. With little wait, JEW jumped right into the slight hum of "Table for Glasses," followed by the drums and them all singing in unison..."It happen too fast, to make sense of it, make it last..." Truer words have never been spoken so clearly, the night was a rush.

So many things were different from the recording, the bass was louder and more intimate, the guitars were looser and reverbed a bit more, the cymbals crashed a bit longer, and Jim and Tom's voices warbled and vibrated more so. Directly going into "Lucky Denver Mint," the rhythm guitar chords were more pronounced and I could feel every string vibrate. The drums were steady, but warm, as was the bass. "Your New Aesthetic" was rife with angst and energy not present on the record. It had more life here, and a bigger following. "A Sunday," with its child-like intro, was like a warm, comforting hug that engulfed the crowd. And the crowd knew to sing loudly from the start of "Just Watch the Fireworks" just like she used to, myself included. And the riffage of "Clarity" was a whole 'nother beast, with their backs bent, sweat dripping from their brow, arms pumping into the guitars. And the crowd shaking in their stance, just waiting for that chorus to release "I don't know, but I know I want out!"

This all led up to the most intimate moment of this year for me, experiencing "Goodbye Sky Harbor" live. What can I say, the lyrics, the acoustic guitars, the drums, the fragility and yearn in Jim's voice as he sings "you are smaller, getting smaller, but I still seeeeee yooooouu." It was like having a long, intimate dinner with someone you thought was the one and you're getting reacquainted after a long period apart; with the background music sponsored by the lingering instrumental ending of "Harbor." And then it was over.

Thankfully, JEW came back after playing Clarity, playing "Work" and "Pain" fluidly from Futures, as well as "The Middle" and "Sweetness" from Bleed American, which garnered the loudest singalong from the venue. And like a message from above, "No Sensitivity" was on the set list and I sang with my entire body, eternally grateful to JEW for playing the song that helped me get over that girl.

In the end, it was organic, spacious, exhilarated all the senses, and made me close my eyes, breathe deeply, and take one giant leap forward, towards closure. Yeah, I'm melodramatic, I know.

Elegance in simplicity

With the stage awashed in hues of purple, red, blue and green, Chan Marshall, aka Cat Power, seductively mesmerized the crowd with not only her beauty, but with her awe inspiring voice as well.

Backed by the Memphis Rhythm Band, Cat Power swayed across the stage, back and forth with no sense of urgency. Playfully coy with the crowd and well at ease, she crooned the night away to her latest covers record, Jukebox. No longer the so-called "unpolished" live act who had no rhyme or reason to her performance, Cat Power was subtle, brilliant, and appreciative.

Saying very little throughout the set, the show was focused on the music. And with the soul and heart that Cat Power emotes, in addition to the proficiency and adaptive nature of the Memphis Rhythm Band, no other thing was needed. With a chilling rendition of "Metal Heart," I was whisked away from the confines of the 9:30, only experiencing contentment that I have not felt in a while. And the buildup of "Lord, Help the Poor and Needy," slowly evoking memories of riding with my mother as she would listen to her gospel tapes from the car stereo, rising up to the potency of many of the "punk" bands I listen to, I was floored at where she started, and where the song took her.

On and on this went throughout the night until it could go on no more. Cat Power simply sang one great song, passed a bouquet of flowers to the front of the audience, was gracious in voice and smile, and walked off the stage seemingly happy. I left the venue, retrospective, glad, and forever in debt to Cat Power and what she gave me that night...simply a wonderful evening of heart, soul, grace, and beauty.

don't you let me go, let me go tonight

Interestingly enough, I followed up the Fucked Up concert with Lykke Li, a swedish, indie pop singer. Not necessarily a dichotomy in theory, but it was still a huge frakking difference.

Trekking out to the Sixth and I Synagogue, I was lost for about 5 minutes in finding the venue, and hence missed the openers. But once I arrived, I was pleasantly surprised by the atmosphere of the place. Old creaky wooden stairs that felt like they were going to snap like twigs under me, that historical near-pungent odor that was tolerable, the view of church pews and a room that just opened up above. Not since DAR Constitution Hall have I been enamored with a building.

Choosing a back pew to take residence, I looked around and could see dozens of faces staring back at me, this place was that intimate. Waiting for about ten minutes, slowly becoming adjusted with the crowd being right there, the lights finally dimmed and the ethereal beginning of "Melodies & Desires" began to flood the place, generating an aura of serenity. Li Lykke then entered onto the stage and stood in front of the mic and began whispering "follow these instructions, do as I do."

And the crowd basically did that and more the entire night. It is becoming commonplace and refreshing to see the audience become actively involved at these shows. With little room to spare, the crowd was able to start a dance party right up next to the stage, and Li was impressively happy with the results. Singing, dancing, banging a cymbal with a drumstick, Li was ecstatic. The crowd really responded to "Dance, Dance, Dance," "I'm Good, I'm Gone," and Li's voice was simply gorgeous on "My Love." With its lush instrumentation just as rich as it is on the album, the song was a true gem. And the crowd really contributed to "Little Bit," practically finishing the last minute of the song as Li was having some technical difficulties. Although she did provide some vocal criticism saying they mixed the chorus line with another song, I was still impressed with the passion of this crowd.

This passion was returned with a stirring rendition of "Tonight." With its soundscape of piano, drums, cymbals and her voice, it was amazing. After that song, I had to walk out because it just felt like the right time to leave. I could not think of a better way to welcome the month of February.

The night that made me feel young

I'm going to be honest, I couldn't tell you what songs were sung, what chords were played, what time sig the drummer was going to. But I can say that I felt young again for a brief moment. And it brought a smile to my face.

Standing at the bar in the back of the small Talking Head Club, I waited through 3 alright openers. Some were catchy, some were noisy, some I just didn't get them, but at 11:00 pm, they finally walked on-stage.

Ladies and gentleman, here was Fucked Up in flesh and blood. Looking surprisingly young, I didn't know what to expect; youthful energy and chaos, elder statesmanship of playing punk rock, or something else. Listening to their records and singles for the past year, I was expecting something that would at the very least, be epic.

And that is exactly what I got. Playing back and forth to the crowd, giving as much as they were taking, I stood in amazement at this six piece coalition. Rummaging through a multitude of songs, some I can remember hearing through the fuzz on my headphones, I could do nothing but begin to the nod to the beat, stare the band in the face, and take a step forward and join the bedlam of the pit right in front of them. Swaying through the mess, knocking people over, picking people up, I can say that was the most comfortable I have felt in a long time. Packed in with a group of strangers, not knowing one person to the next, I let go. Following the singer parade through the crowd, stand on top of the bar, swing aimlessly in the crowd, give random kids piggyback rides to and fro, I was young again. The stamina was there, the muscle were not sore, the sweat and blood did not bother me, I was young.

That is what I remember about Fucked Up, they made me feel young again. No band has done that for at least two years. And it happened for the first time on the East coast. For me, Fucked Up were transcendent. I will see them again, I will listen to them more closely, and I will be more prepared.