Heheheheheheh. Ah, 2014: another year where I tell myself 'this is the year my obsessive show-going addiction ends;' another year where I see more shows than anyone I know who isn't employed at a performance space / venue. WHEEEEEEEEE!!!!
A quick list of locations where I've seen shows this year:
--Brooklyn (double natch)
--on a boat circling Manhattan
--Commerce City, CO
--Miami (in 7 days!)
As of this very moment, I've seen 93 concerts this year, and I've got at least three more coming up - Uncle Ebenezer at Knitting Factory Saturday night, Television (first time seeing them) at Irving Plaza on 12/28, and a little up-and-coming rock band who I think are called Assface in Miami on New Year's. The following is my totally subjective, largely meaningless, and wholly amusing (to me) recap of the best stuff I saw in '14.
Oh, and Happy Holidays to all!
The Ten Best Phish Shows I Saw All Year:
1.) Phish, 10/31/14 MGM Grand Garden Arena, Las Vegas
2.) Phish, 7/13/14 Randall's Island, NYC
3.) Phish, 7/27/14 Merriweather Post Pavilion, Columbia, MD
4.) Phish, 8/29/14 Dick's Sporting Goods Park, Commerce City, CO
5.) Phish, 11/2/14 MGM Grand Garden Arena, Las Vegas
6.) Phish, 10/22/14 Santa Barbara Bowl, Santa Barbara
7.) Phish, 7/26/14 Merriweather Post Pavilion, Columbia, MD
8.) Phish, 10/28/14 Bill Graham Civic Auditorium, San Fran
9.) Phish, 7/11/14 Randall's Island, NYC
10.) Phish, 8/31/14 Dicks Sporting Goods Park, Commerce City, CO
The tail end of the Men's headlining tour brought them to the familiar environs of their hometown for this show at Music Hall. Surprisingly (and disappointingly), the room was nowhere near full, which meant we got to spend the entirety of set up front right at the edge of the stage. Once again, Brooklyn's loss (and horrible taste in music) is, sadly, my gain.
This has been a year of change (and a journey of self-discovery!) for The Men. Their newest album, New Moon, largely eschewed their distortion-laden roots in favor of a more classic rock-indebted sound, a move taken to an even further extreme by their recently released EP of acoustic jams, Campfire Songs. However, this was probably the most straightforward "punk" show I've seen them put on of the six times (!) I've seen them in the last twelve months: no organ, no horns, no acoustic guitars, few "contemplative" moments; just rockin' the eff out. To me, this plays directly to the band's strengths.
The set consisted of many The Men "classics," including "Electric" (see above for video), "I Saw Her Face," "Turn it Around" (see below for video), "Open Your Heart," about three or four others that sounded a lot like "Night Landing," and a few I didn't recognize. For the encore, they covered The Stooges' classic "I Wanna Be Your Dog," with guest vocals by some dude who didn't know the fuckin' lyrics.
Opening for The Men were Philly's own Purling Hiss, whom I'd first seen opening for Death at (le) poisson rouge in July. At that show, I really enjoyed the song that opened their set, although I found the rest of the set to be kind of unoriginal and samey-sounding fuzzed out rock. Tonight's set was pretty much the same, although this time I fortunately captured that great first song on video (see bottom of this post).
[EDIT: well, that was quick! In this interview, The Men guitarist / vocalist Nick Chiericozzi mentions that the band recorded a new album early this year, and that it should be out in early '14. From the interview: "We did a fifth album at the beginning of this year and it's gonna come out sometime early next year. It has a much different sound to New Moon. It's pretty slick sounding, for us. It sounds pretty big. The drum sound is really good. I like the drum sound more on this newer one than I do on New Moon. The rhythm section in general sounds really together. There's a saxophone and some horns, a lot more piano... I don't know if it's country or psychedelic. It's pretty poppy, really. It's a lot different."]
Jon Spencer Blues Explosion hearken back to a not-so-distant past in which both 1.) downtown NYC was still a little dangerous, and 2.) the NYC "scene" was actually at least somewhat interested in embracing bold, edgy rock music hybrids. These days, it's tough to see where JSBX's "homeless meth-head Elvis impersonator hallucinating in a dumpster while barking threats at invisible assailants" aesthetic would fit in amongst the bedroom pop / shitgaze / chillwave / whatever-the-fuck musical landscape.
This was actually my first time seeing JSBX live, and the first time I'd seen a Jon Spencer project since I caught his straight(ish) rockabilly act, Heavy Trash, at Public Assembly in early 2010. I remember reading reviews of JSBX live shows from their heyday which both admonished the band for their hubris and admired their ballsiness, and it's easy to see why a music journalist could reach either of those (not necessarily contradictory) conclusions after taking in a JSBX show.
To that end, the band performs several songs that include the words "Blues Explosion" in the lyrics and / or include instructions on what one should do if expecting to encounter the Blues Explosion. "Make way for the Blues Explosion!" "Watch out for the Blues Explosion!" "Here comes the Blues Explosion!" "Sleep with your ass to the wall when the Blues Explosion is in town!" (OK, I made that last one up.)
With intensely garish psychedelic projections as a backdrop, the band's set eagerly embraced the two divergent qualities which (to me, at least) are largely responsible for JSBX's image - wildly provocative showmanship mixed with a sizeable dose of fugly, distorted garage-blues. That's an uncommon alchemy, to be sure, and I wish that more local bands would rock this hard. Anyway.
Fuck yeah Kylesa indeed. Of course it's just my luck that the two bands I have the most interest in seeing at this year's Nortside Festival (Kylesa and Torche) played on the same night at different venues, which sucks, but since I saw Torche just a few months ago, Kylesa was the evening's pick for me.
This was my first time seeing Kylesa live since late January, '11 at Santos Party House during a ridiculous snowstorm which for some reason resulted in J train service over the Williamsburg Bridge being suspended. Shortly thereafter I recounted the evening to a friend as such:
Double high ankle sprains? Check. Black eye? Yup. Lost iPod? You know it. Bloody hand complete with embedded glass particles? Sure, why not. Paid $23 to some vulture just to take me over the bridge? Hells yeah. Would do it again because it was a GREAT FUCKING SHOW? Obviously.
Hoping to avoid similar misfortune this time around, I skipped the first two openers, entering MHoW moments before Toronto's Blood Ceremony started their set. These guys were pretty much the perfect opening band for this sort of show - theatrical, dramatic hard rock built on a rock-solid foundation of stoner / doom, with hints of virtuosity (primarily in the style of over-the-top flute soloing) peeking out from underneath the heavy grooves. And it certainly doesn't hurt when the singer delivering the tales of witchcraft and sorcery is as easy on the eyes as Blood Ceremony's Alia O'Brien. Good stuff.
After a ridiculous 40+ minute setbreak, Kylesa finally took the stage a bit after midnight. Their set was, fortunately, well worth the wait. Alternating deftly between shouty sludge, chiming melodicism and heavy psychedelia, these guys proved that although you don't always use to need a sledgehammer's approach to pummel an audience, it sure helps to know how to swing one properly. These guys have a lot more to offer than most bands bearing the "sludge" tag, incorporating theremin, moody textures, and a dual drumming setup which makes their music unclassifiable to many.
So I was in a rush to catch as much of Marnie Stern's set as I could, hurrying back to Williamsburg at the midpoint of the evening's earlier King Khan & BBQ show at Santos. I wound up getting inside MHOW about halfway through Marnie's set, enjoying her trademark guitar histrionics and hilarious between-song banter, which humorously detailed life on the road with the two dudes in her band and her tiny dog, and cajoling her drummer (former Parts and Labor skinsman Joe Wong) to strip naked. (He eventually got down to his skivvies.)
Sad to see the room about half full, but I guess Marnie's hyperkinetic guitar playing and high pitched vocals are a "love 'em or hate 'em" type proposition. It happens. I'm generally in the former category, natch, but I should say that I'm not loving her newest album, The Chronicles of Marnia, quite as much as her previous self-titled record (which was awesome), but what the hell do I know.
Marnie and her band (and dog) are on tour throughout the states right now, so peep her tour dates here and check that shit out if you're interested.
This was the eleventh time I've seen The Raveonettes live / I think they're on the short list of Greatest Bands in the World / Chain Gang of Love is my single favorite album OF ALL TIME. Their new album Raven in the Grave is one of the two finest albums I've heard so far this year. Yes, they are awesome. [OK, that's out of the way.]
If y'haven't seen this yet, have a gander. It was purchased 11 days ago by my good buddy Beaf at the Dallas Raves show. [If you look closely, you'll notice that the poster is from their 2007 "Loud and Intimate Electric Duo Tour," which consisted of 6 total dates, of which I saw two. After the Southpaw show, I saw a guy get run over by a taxi. Ask me about it sometime!]
OK. Very glad they're playing at Music Hall... almost exactly a mile from my doorstep. After a nice brisk walk I got to the venue at about quarter after 9. Quick beer, headed upstairs, and found plenty of room way up front at the left side of the stage.
I enjoyed the opener, Tamaryn, whose shoegazy-meets-dreampoppy bag I found very pleasant.
Setbreak revealed the Raveonettes' new stage setup: dueling 3-piece drum kits at each side of the stage, with one of the drummers switching off between drumming and rhythm guitar for most of the set. Also, they brought their own special light show, being comprised of 6 vertical white fluorescent lights and 3 little groupings of multicolored light thingies.
Raveonettes opened their set with "Recharge and Revolt," with both of the drummers playing guitar, Sharin on bass, and Sune on vocals... this was probably the first time I've ever seen the Raves perform a song without Sune playing an instrument.
Setlist included songs from their entire recorded career, with the wealth of new stuff [6 new songs!] sounding awesome mixed right in with old chestnuts. When a band has as many great songs as the Raveonettes do, it's easy to get wrapped up in the "man, why didn't they play..." game post-show, but the setlist was pretty fucking solid. [See below for said actual setlist.]
Set highlights for me were Chain Gang's "The Love Gang;" hearing two of the best new songs, "Apparitions" and "Evil Seeds," played back to back; Sune's solo during "Love in a Trashcan;" the awesome little noisy jam they did in "Attack of the Ghost Riders."
If I had to submit an entry into the fictional "What Do You Think Is the Perfect Song?" survey, it would probably be "Dead Sound."
Random stuff I hearted about this show: the massive "wall of sound;" the flawlessly executed light show; the disco ball (I've seen probably damn near a hundred shows in this room. How the hell did I never notice the disco ball before?!); the patient, attentive crowd. It's pretty tough not to fall at least a little in love with Sune and Sharin when you see them live.
The set ended, appropriately with "My Time Is Up," from the new record, and the encore closed out with Sharin switching over to guitar for "Aly, Walk With Me."
Probably the best show I've seen all year.
go HERE if you want better pics from this show. Tuddd out for now......
I've been looking forward to this show for quite awhile... it's kind of a sludge dream bill, no?
During the calendar year 2009 there's no band I've listened to more (as confirmed by my iTunes play counts) than the mighty Harvey Milk, and this would be the first time I've ever seen 'em live. And although I've already seen Torche thrice, this would be the first time I've seen them as a full-fledged headliner. Love love love these bands. Headed out towards Music Hall of Williamsburg where I made it past the Snoop-lookalike bouncer and inside the venue before 9. (Preshow music was Clash, I think.)
The first band, the four-piece Pollution, didn't take the stage until well after 9, plying the crowd with their brand of downtuned, angst-y metal. Influence-wise, these guys seemed to draw a lot from the usual '90s NYC hardcore/metal hybrid mainstays as well as the classic AmRep sound from the same basic time period. Enjoyable.
After an excessively long setbreak (over 35 minutes, more than long enough for the in-house soundguy to play the entirety of Death From Above 1979's You're a Woman, I'm a Machine album), Harvey Milk took the stage. Vocalist/guitarist Creston Spiers looked like Hell's Own Janitor dressed in a one-piece charcoal jumpsuit, with greasy locks framing a weatherbeaten face. A wholly appropriate appearance for the man whose legendary full-throated bellow makes it sound like he's passing a kidney stone the size (and shape) of a hedgehog.
Starting off with the lugubrious "I Got a Love" set the basic tone for the evening -- lumbering sludge in heaping doses -- with the tempo occasionally sped up with the inclusion of songs like 2008's single-tastic "Motown" and a trio of tracks from The Pleaser ("Shame," "Misery," "Lay My Head Down") and slowed down with impossibly syncopated material like "Love Swing." Indeed, this was some bass-heavy, brutal fare which exacerbated my preexisting migraine and at times seemed to be nearly shaking my filling loose. Kudos, gentlemen.
Up next: the evening's second power trio, Torche. As I mentioned this was the fourth time I've seen these guys, with each successive concert I've attended revealing a little something more. When I saw them opening for Mogwai in May '06, I thought, "man, they're heavy." When I saw them last July with Boris, I thought, "goddamn these guys sure have fun onstage." When I saw them opening for Dredg in April, I thought "Dredg is horrible. Torche should be headlining this." And at this show I kind of realized that these guys are absolutely one of the finest live bands currently going. Of course, for me the highlight of the set was "Across the Shields" (my third-favorite song of last year), during which vocalist/guitarist Steve Brooks hopped across the stage, performing high kicks, mugging shamelessly and generally just havin' a good ol' time. I don't know how to play guitar, but hot damn I bet that'd be a fun song to play... or maybe it's just that these guys play with such vigor, animation and pure joy, they make it seem that way.
Post-show I was disappointed to learn that the Harvey Milk merch table had sold out of Anthem DVD sets, so for a cool $5 I snagged a poster from a Denton, TX show earlier in the year instead (see below). The poster has an image of an anvil on it, which could reference any number of things: 1.) the Harvey Milk song "The Anvil Will Fall," one of the finest songs ever written by anybody; 2.) the Harvey Milk song "All The Live Long Day" on which an anvil is actually used as percussion, or 3.) Anvils are fucking heavy. Harvey Milk, too, is fucking heavy. Although I'm kind of regretting not buying the set of 4 Harvey Milk plastic tumblers (bottom), which they were also selling. Haha.
Man, was Monday rough. Still hurting from Sunday's unexpected debacle, I got back from "work" and immediately passed out for a couple hours. This did not help things. I got up 8ish, drank about 64 Gatorades, and drove over to MHOW. Fuck.
This would be the third time I've seen The Kills live, with the first time being in September '06 at Southpaw, for what (if I'm remembering correctly) was basically a one-off show (not part of a full tour or nuthin'). I remeber this being an excellent show, and VV and Hotel played the part of fucked-up derelicts to the hilt; I remember remarking at the time that that was the most fried I'd seen an onstage performer since Trey Anastasio's infamous meltdown at Coventry. But fuck it, when The Kills do it it actually adds to the intensity and the drama of their garage / blues / beatpunk jams. Next time I saw them was May '08 at Webster Hall for a Midnight Boom -heavy set, which was interrupted by the NYFD when Webster Hall apparently CAUGHT ON FIRE. Despite me (and, presumably, other members of the sold-out audience) remembering this, nobody fucking budged, which was odd. Good set although it woulda been gooder if the bastards at Webster Hall would have turned on the AC.
But back to the present. The evening's first band was Magic Wands whom I had seen with Young Knives last year at Mercury Lounge. It's pretty rare that a headlining band (in this case, The Kills) chooses an opening band that's so shamelessly copping their aesthetic (in this case, Magic Wands), but there you have it. Still totally exhausted, I was not the least bit in the mood for this, heading upstairs and sitting the f down. I did notice this time around that Magic Wands' music leans a lot on '80s teen pop influences, from the lyrics to the piped-in synth.
Next up were British post-punkers The Horrors, for whom I actually chose to stand up. The music was fairly generic post-punk fare, with the most distinguishing characteristic being the tall, gangly singer's monotone barking singing style. Nothing terribly interesting here, but at least they got my head bobbing. (Directly following their set, an overenthusiastic dude who had apparently misjudged my enthusiasm grabbed me by the arm and exclaimed "fucking GENIUS!" which was funny in its sheer wrongness.)
After about 20 minutes, The Kills came onstage and from the intro beats of "URA Fever," the house was sufficiently rocked. There's really not another group I've ever seen that has a similar stage presence to The Kills, as it's tough to pull off tough / cool / sexie bit without seeming really really insincere, but they succeed. Indeed, no one on the corner quite matches VV and Hotel's swagger. Musically, the evening's biggest surprises were a cover of "Crazy" (yes, the Patsy Cline song) and a dark take on "I Put a Spell on You," with the highlights for me being "No Wow" and "Hook and Line" (no, they didn't play "The Good Ones"). Non-musically, there was some genuine oddness caused by an incredibly aggressive heckler. At first Hotel repelled by jabbing him in the forehead with his guitar neck, but eventually the dude (who as it turned out had ripped jeans making his ass visible) made it onstage, making a halfhearted attempt at chasing VV before being tossed offstage by a roadie with a sickening/hilarious thud. Weird shit.
I took a spin through Tuddd Archives the other day and found that this was to be the fifth time I've seen A Place to Bury Strangers live, which is only fitting now that I think about it. When you're talking Brooklyn bands, off the top of my head only Cheeseburger, Goes Cube and Austerity Program are as enjoyable in the live setting. I dug APtBS' debut album but it's live that these bastards really make their mark. More on that later.
Left the apartment and headed towards Music Hall of Williamsburg at about 8:30; got inside 20 minutes later expecting a 9 PM set time for the openers, and let me tell you, NOBODY was there. Seriously, less than 20 people downstairs, literally nobody upstairs, and the Mezzanine was closed off. I sat down in the empty stage room ready to burn through some cell phone Tetris, only to be asked not to sit where I was by security. Really? There's nobody in the fucking room and I have to get hassled about not sitting on the steps? Man, I hate this venue, and the people who run it!
(Interestingly enough, I spoke with a couple guys tonight who said that security gave them shit about taking pictures of the show with their phones. Ridiculous, no? It's no wonder that every time I bring up Music Hall of Williamsburg in conversation with other Brooklynites people bitch about what a miserable collection of shitbags the security guys are, so it's not just me whining about this nonsense.)
With nobody in the house, openers Arttanker Convoy took the stage at about 9:20. I probably would have liked their set a lot more if I hadn't seen so much superior avant gardeish shit lately. Seriously, along with Lou Reed with John Zorn and Monotonix last week, I've also since been to the uber spacy/dissonant Jazzmaster 50th Anniversary show at Knitting Factory and a Todd P joint featuring Lightning Bolt and Growing over the past couple of weeks. So yeah, for someone who usually uses truly noisy shit as little more than a palette cleanser, said palette was spic and span, bitch. To paraphrase Robert Plant, I was in the mood for a melody.
Up next was Brooklyn's Amazing Baby, and the kids seemed to really like them. Seriously, I counted no less than fifteen separate people hopping to the front of the stage to snap pictures... having never heard of them I was surprised that they had such a significant buzz. (I'd like to think I keep up on such things.) Amazing Baby were okay, and although there's certainly nothing wrong with wearing one's influences on one's sleeve, if you're going to be totally derivative, you'd better have some pretty great songs. For the record, it wasn't until the final jam that they really managed to rock the fuck out. Of all the groundbreaking garage bands to compare them to sonically, I'd have to say there's a definite MC5 influence there with maybe a bit more widdly widdly on lead guitar. Were they posing and preening a bit? Sure, but they did look like they were legitimately having fun. I tells ya, these kids could be huge, I tells ya.
Sian Alice Group were up next. I caught them with Pelican and Priestbird a little while back, and I remembered enjoying them, but not as much as I did this time around: a kind of post rock thing going on, with definite pop flourishes, krauty moments, and flat-out perfect vocals. The instrumentals, while usually subdued, carried their share of the weight, as well. At various times during the set I was reminded of Godspeed's masterpiece Lift Your Skinny Fists..., several Mogwai songs, Under Byen's "Mission," and even some stuff from the new Portishead long-player. I'm'a buy - and listen to - their new album post haste!
A Place to Bury Strangers wound up not starting their set before 12:30 or so, by which point I had wriggled my way to the front of the stage. (On my way up I shook APtBS frontman Oliver Ackerman's hand and wished him a good set.) Fortunately, the place wasn't totally empty anymore, with probably 100+ or so in attendance. While the evening's first three bands had averaged in excess of six members onstage apiece, A Place to Bury Strangers are a power trio. Or a quartet if you count the impressive array of homemade effects pedals as the true fourth member of the group. Seriously, the frickin' bassist alone has like eight pedals!
Self-billed as "NYC's loudest band," these guys throw MBV, Jesus and Mary Chain and Sonic Youth in a blender, topping that off with krautrock-style drumming and rock-solid bass playing. Add in striking visuals (projected on a sheet behind the band), strobe lights, occasional equipment destruction, and enough feedback to rumble your innards. They opened with the unreleased "Gimme Acid," going into "Don't Think Lover" and "To Fix the Gash in Your Head" and "I Know I'll See You" (all from their self-titled first album) along with a couple of other newer jams before Ackerman began precariously swinging his guitar around his upper body, eventually spiking it to the stage and ripping the strings off. During this, bassist Jono managed to lock into a perfect feedback drone which led into arguably the Strangers' best song and perennial set closer, "Ocean." Awesome.
Fuckin' shit, it's getting late and I have to be up at 7. I'll be at Mogwai on Thursday. (I think it's Thursday. I'll be there regardless.)
"I knew Northsix. Northsix was a friend of mine. You, sir, are no Northsix."
I really, really used to love Northsix. After all, I saw a ton of good music there last year (Panthers twice, Boris, Blue Cheer, O'Death, Titan, Pearls and Brass, Emergency Party, Pissed Jeans, many others), and, along with the now sadly irrelevant Warsaw, it was the venue closest to me (driving wise) that I went to most in '06. Early in '07, it was announced that Northsix would be shutting its doors for renovations; The Bowery Presents had bought it and that it would be closed for a few months while it was prettied up.
I had a feeling that they'd kind of want to make a ham-handed attempt at appealing to Williamsburg's burgeoning yuppie population but this is ridiculous. Half of me just wants to think "this place just needs to be broken in a bit" or whatever but then you visit the bathroom and you think you're at a fucking movie theater. I hoped that they'd keep a couple of the features that really endeared the venue to me, as a cripple -- namely the few seats along the left side, or the bleachers, but nada. Basically it just seems like a sanitized-for-your-protection Bowery Ballroom, which... meh.
Regardless, I had kind of avoided a couple of potentially crappy shows at "new" Northsix (it's now known as The Music Hall of Williamsburg) since it opened a couple of weeks ago because I was hoping to start off my showgoing experiences at the new place with something memorable, and Cheeseburger rock more than enough to fit that bill. This was to be the third time I've seen them, with the first being a "surprise" appearance at Panthers' release party for The Trick (where the mighty 'burger performed under the assumed name of "Meatballs the Band, AKA CHEESEdog and the VeggieBURGERs" -- pretty subtle, eh?). Second time was some street festival in Greenpoint or Williamsburg or somewhere which would have had a full set by Cheeseburger and a headlining set by the totally awesome Oxford Collapse, had not the thing been rained out in the middle of Cheeseburger's set. BOOOO GOD!
So, a brief primer: when attending a Cheeseburger show, you're know you're going to get huge, heaping/steaming portions of the following: 1.) belligerent drunkenness by their singer, Joe, 2.) charmingly novice-level musicianship, and 3.) good old fashioned loud, balls-to-the-wall rock and roll. Yes, this is the perfect show to get shitfaced before/during -- too bad I was driving, so none for me. The show was introduced by some dude called "Mooch," apparently a native Williamsburg resident (who knew such a thing existed!), who both bemoaned the influx of transplants ("you all have to stop talking like such [sissies]. No more... asking 'what do you want to do after brunch,' ok?") and complimented the influx of hot chicks to the 'burg. His overlong shpiel/harangue was mercifully ended when Joe from Cheeseburger entered stage left and broke a beer bottle over his head.
Shortly, the band ripped into "Good Times Roll," which sorta got the kids moving. (If you can't dance at a Cheeseburger show, then, pray tell, when can you dance?!) Within a few minutes, Joe (again, he's the singer) had pulled out at least 4 or 5 decent size horse-shaped pinatas, which, of course, made their way straight into the crowd. Within minutes, the crowd had torn the equine candy-holders into pieces, covering the floor with peppermint hard candies, Now and Laters, and gummi cheeseburgers. And, of course, this immediately touched off a deluge of shit being thrown at the stage: semi-full beers, cups of ice, giant chunks of the pinatas, candy, and empty cups. Faaaantastic! Particularly awesome was seeing the still-unbroken pinatas (these things must have weighed a good 15 lbs.) flying through the air and conking unsuspecting people in the head. Fuckin' rock and roll!
Within a couple of songs Joe had stumbled offstage and into the crowd, squirming around on the floor, which by now was covered with the assorted detritus that limp-wristed hipsters had heaved towards the stage but had fallen short by a couple of yards. The band tore through the hits ("Money for the Heart," "Easy Street," "Tiger," "Derby Day") and played a new one, "Suzie" something or other. Between song banter consisted of visits from a shapely/comely beermaid, drunken boasting ("I've been drinking since 5 o'clock!") and, eventually, a half-hearted attempt to get the crowd to stop throwing shit ("seriously, man, fuckin' truce....") a sentiment which was immediately nullified by the band tossing more shit back into the crowd.
They closed out their set what seemed like super early, but got called back onstage for an encore (pretty frickin' rare for an opening band, no?), only they couldn't play "Do You Remember!" Seriously, it took them a good several minutes to figure the chords out, which was pretty hysterical. I mean, y'know, it ain't "La Villa Strangiato" or whatever. Of course, I nearly soiled myself because I was laughing so hard.
So, yeah, Cheeseburger has joined the ranks of great Brooklyn bands who I'll go out and see at any available opportunity. And, yeah, throwing the pinatas around was pretty cool, and I for one propose they branch out into messier territory, with water balloons or pies or some such nonsense next time I see 'em. *Sigh* a boy can dream *sigh*