popwreckoning

Once upon a time, the Flaming Lips brought a mystical show to the small town in northeastern Kansas and Jack White’s the Dead Weather opened along with Minus the Bear, White Rabbits, the Ettes and Stardeath & the White Dwarfs. Yes, this is the line-up that both dreams and fairytales are made of, but like all good stories, there was the threat of a villain. The villain attempting to thwart our plot was the severe tornado watch blanketing the county, but fairy godmothers must have heard prayers, and sunny skies beat down on concertgoers: the rain held off until after the show.

Yet, this did not make all perfect. Unfortunately, there was a subplot with its own villain. The set times were unclear and due to this, those of us following the venue’s listed 5 p.m. showtime, missed the first two bands–The Ettes and Stardeath & the White Dwarfs–who opened the show at 4:15 p.m. Doors had only opened at 4 p.m., so fans really had to scramble to make that. I, unfortunately, was still at work, so I’ll have to catch these bands at a later date to give them a worthy review.

Instead, my first opener was White Rabbits. White Rabbits, despite their Columbia, Missouri, ties were welcomed warmly in Jayhawk country. The six-piece band’s bombastic drum heavy set and easy-to-sing along with vocals held attention easily. They were dynamic enough to draw people away from lengthy merch lines to see who was pounding on the keyboards. Popular tune, “Percussion Gun” got people moving and despite three huge acts following them, this song was what remained stuck in my mind well after the show was over.

I know for a fact that many had turned up for buzz indie band Minus the Bear. Seattle’s rockers are gearing up for their fourth studio release, Omni, but as excited as I was for the ambient rockers, their set was almost too mellow for an amphitheatre platform and it didn’t help that they had to deal with complete sunlight during their set so no fog or lights could help give them atmosphere. This isn’t to say they were bad. Their songs were tight and they played diverse selections from their catalog. However, the environment for that type of music is better set in a late night club.

It’s weird to think the next act was just an opener. The Dead Weather played like they were they headliner and with the added attraction of Jack White, some in the crowd might have thought that they were. The southern rock they played was fun and even featured a Pentagram cover. The Kills‘ Allison Mosshart fully embraced her role as southern rock queen and held the crowd in the palm of her hand as the chain smoker gripped a cigarette in one hand and the mic in the other, while walking the length of the stage and striking dramatic poses. She wore a leopard-print jacket: fitting attire for a woman who looked like a cat on the prowl. She’s far more entertaining in this setting than she ever was in her previous bands. Dare I say the same of Jack White or is that blasphemy? I never had the privilege of catching him with the White Stripes (I bought tickets to a Lincoln, Nebraska show, but then they announced their “hiatus”), but I did see him with the Raconteurs. With the Dead Weather, Jack White, or Jackie White as he introduced himself, seemed to be having a sort of fun that was absent in his other projects. He remained behind his drum set for a majority of the Dead Weather songs, letting Mosshart lead, but when he sang or came out front to play guitar (heck in some songs, he did all three: sing, guitar and drum), it was clear he was the star. Yet, as the star of the show, he was still humble. Though a super group of this stature needs no introductions, he introduced his band mates: “Dean Fertita: so Italian you could order a pizza off him…Jack Lawrence: you might have seen him before as he’s no stranger to Kansas City. Call him up and take him out sometime…This little dark-haired queen is Allison Mosshart…and I’m Jackie White.” Even their roadies got into the strange character of the band: they all wore matching suits and blue ties. It’s weird to think anyone could top a set with as strong of personality as that, but the headliners, the Flaming Lips, were ready to embrace the challenge.

This was my first experience seeing the Flaming Lips and from the Youtube videos that I watched in preparation, the band brought out both old and new tricks. Leading up to their set, front man Wayne Coyne had appeared on the side stage for all the openers, both to check the other bands out, but to also greet the crowd and accept their warm applause.

Strobing lights and trippy yellow woman appeared on the screen for the lips grand entrance during “Worm Mountain.” This projected woman then “birthed” each of the band members before Coyne got his special birthing treatment and appeared and his infamous plastic ball. He rolled over fans before rolling back on stage. Confetti and balloons continuously poured on the audience causing further eruptions of cheers and applause. The band seems to live and thrive off of applause. Coyne constantly raised his hands towards the sky to encourage more applause and the band was flanked on either side by orange cheerleaders/dancers (as well as the later addition of a caterpillar and a catfish).

For some one who had never experienced this band before, I had a hard time deciding what to make of them. The theatrics were a bit through the roof: bubble over the guitar? Inflatables? Waaaay too much confetti? But then again, they’re supposed to be at a Flaming Lips performance. So when drummer Kliph Scurlock (who happens to live 30 minutes away from the venue in Lawrence) led the crowd in acting like monkeys and croaking like frogs during “I Can Be a Frog,” you really just had to chuckle and go with it, whereas any other band trying to pull that off would have had you going, “What the Fuck?” The only point where the Lips did push me to the edge of my comfort zone, was during one of the pieces where Coyne placed giant hands on his knelt in a prayer position and opened the hands up with green lasers stretching out of the palms like stigmata, while the crowd responded like he was their personal god. But again, it’s the Lips and you just go with the flow. And for some, I guess this is the closest they get to a religious experience.

Stardeath & the White Dwarfs (and even more confetti) joined the Lips for an encore of “Brain Damage” and “Eclipse” off their Dark Side of the Moon compilation. The anthem “Do You Realize” rounded it in a literally explosive finale (did I mention more confetti?) before the show ended. The crowd begged for more, but the Lips settled on just returning for bows, leaving people with just enough time for people to make it to their cars before it rained.

This was the first outdoor show of Kansas City’s season at Sandstone and what a way to kick things off. Here’s hoping the rest of the summer lives up to this.

The Flaming Lips Set List:
Worm Mountain
Silver Trembling Hands
Yeah Yeah Yeah Song
In The Morning of the Magicians
She Don’t Use Jelly
I Can Be A Frog
Yoshimi Battles the Pink Robits, Pt. 1
See the Leaves
Powerless
Pompeii Am Gotterdamerung
Taps
The W.A.N.D.
Convinced of the Hex
///
Brain Damage
Eclipse (with Stardeath & White Dwarfs)
Do You Realize?

Storm clouds were gathered outside over Liberty Hall Theatre, but an even moodier atmospheric landscape was being crafted inside the venue. Iceland’s Jónsi, well known for his work as singer and guitarist in Sigur Rós, was playing to a sold out audience and the concert he had prepared would be a symphonic masterpiece that would rival even the natural concert playing out in the heavens above our heads.

This show’s presentation was like being at a symphony orchestra concert mixed with an art exhibit. Multiple percussionists joined Jónsi on stage. One rolled out massive rumbles on the timpani, while another wielded four malletts to enrich Jónsi’s soaring vocals with ringing chimes. My favorite percussionist resorted to a more primitive form of percussion alternating between what appeared to be homemade metal cymbals and some other wheel of metal he used to make a scratching noise like a tree limb being blown gently across a window pane.

As impressive as the percussive backdrop was the imagery and story portrayed in the light show. The lights weren’t the type to blow you away by being in your face. Instead they were used more like video art. Early in the show, deer pictures covered the back screen, but in a fateful moment and big crescendo from the music, the deer was eaten. The lights flashed red and the backdrop fell away to reveal a dilapidated wall of broken windows. Now, the lights changed into images of rain. First the water trickled down with descending scales on the piano, before flooding and the water began swelling from the base of the backdrop up the window panes. When Jónsi’s vocals began soaring even higher than his standard soprano range, so did the lights and they rose up to become like stars. One of my favorite effects was during a piece where each of the windows divided into three rectangles like piano keys and then they pounded down in time with the piano’s. One of Jónsi’s support members  had an electronic pad, much like an iPad, and I suspected that when his fingers tapped the screen in time with the music and the lights if he was not the puppet master behind the elaborate visuals.

When nearing the end of the set, the lights stormed and an indoor thunderstorm rocked the venue. Jónsi and band seemed swept away in their own tornadic playing and movements became increasingly erratic, while the music became increasingly urgent during and just when that whirlwind made audience members catch their breath, it was over. Sunlight broke through the projected clouds, but the band was gone. It was a weird calm, but a discontent one when all we wanted was more from the band.

They obliged and Jónsi reappeared in a tattered, colorful headdress. Two more songs were given to us in the most tribal of fashions. And much like the purposefully damaged looking set, there was beauty in this broken effect.

Jónsi could have made me happy without the light show. He is a phenomenal singer – crisp vocals, tight guitar playing and dynamic control to grip even the most elusive of heartstrings. This presentation was just like a gift – he was spoiling us. When the encore was complete, the audience rose from the seats. Demanding more, but there was no more to give unless the band risked undermining the art they had just layed out. However, they did grace us by returning for a final bow, which allowed us a chance to give Jónsi a final thank you. The show officially ended with the audience singing to Jónsi: Happy Birthday.

Set List*:
Stars in Still Water
Henglias
Kolnidur
Tornado
Sinking Friendships
Saint Naive
K12
Go Do __
Boy Lilikoi
New Patato Song
Around Us
—
Animal Hepatitus
Grow Till Small

*Set list is as it appeared on the form. Some songs are actually titled differently such as “Animal Hepatitus,” but I thought the selected names were of interest.

The last time Phoenix played Kansas City, it was at a 200-capacity venue for a free MySpace secret show. Though I know people drove for miles to see that and waited in line all day, I think Phoenix was a bit shocked at their popularity. Now, nearly a year later, Phoenix returns to Kansas City, but this time at a significantly larger venue with a 2,500-some capacity. Again, I knew people were driving for miles to see this and show had quickly sold out. Yet, again, I think Phoenix was surprised at their popularity, half-expecting that at any moment, they might wake up and be downgraded back to a 200-capacity venue with no one in attendance.

It’s weird to think that this band, which has been releasing albums since 2000 and a band that has roots in Daft Punk and Air, just in the past year became popular in the United States. They seemed to skip that in-between growing popularity phase here: one night no one knew who they were in this country, but then they wake up in the morning and they’re a household name, selling out massive venues.

The band’s performance on SNL had a lot to do with the launch of their success, which I’m kind of thrilled about because now I get to see them multiple times in a year instead of sitting at home wishing they’d come play KC, while I import their albums from France. I also like to think that the band’s crazy rise to stardom in the states challenges them in their stage show to show that this wasn’t a fluke and they deserve this success. And after seeing them three times in the past year, I can attest: they are that great live.

Opening for the show was supposed to be the Irish rock group Two Door Cinema Club, but they had to cancel due to the volcanic activity in Europe disrupting air travel. Locals the Roman Numerals filled in at last minute. I was really looking forward to Two Door Cinema Club, having blasted “I Can Talk” and “Something Good Can Work” fairly solidly on my car play list fairly solidly for the last few weeks, so I was pretty dismayed that they canceled and a local band that I felt was a little over-saturated in the market was filling in. However, I think the offer of opening for such a huge name really pushed the Numerals to outperform their standard. They put on their most dynamic set and energetic set that I’ve ever seen them do. Now knowing that they can play that explosively, I hope they can meet the bar set as this show and continue to outperform themselves.

Some of the guys in Phoenix had mentioned to me that their light show had also been affected by the European volcano due to their light guy getting stranded. They said they had to make some amendments to their usual show. Despite knowing this change up, the light show blew me away. Sure, there were lots of strobe effects, but they also knew how to use dark space. Band members were cast and shadow or spotlighted when appropriate for a big solo–which was refreshing to see that all members were given equal respect and not just the lead singer given the spotlight. One of my favorite moments of the light show was during an instrumental interlude where the stage went dark and the amps were slowly outlined in neon lights in this big growing effect that mimicked the growing dynamic of the music. Beautiful.

Now, that being said about the astounding lights, they really were just a bonus. The band’s aural performance was enough to impress, but to get killer lights and music? Lucky. The set mixed songs spanning the length of the Phoenix catalog and I was pleased to see that so many knew more than just “1901″ and “Listzomania.” The band has some slow numbers, but for the most part, they’re upbeat alternative rock songs. While they’re not what one would generally consider dance music, they’re surprisingly easy to dance to, but KC did need some encouragement in this department. “This track is supposed to be a dance track, so if you guys don’t mind,” said singer Thomas Mars before “Girlfriend.” His recommendation was quickly taken to heart by the audience and the house lights were even brought up so the band could watch the audience dance.

Mars was a giant ball of energy, singing his heart and engaging the crowd by reaching his hands out to them and at times, even entering the throngs. “Where would you go” he sang on “Lasso” and seemed to answer himself by showing that where he’d go is into the crowd. Usually just the front rows benefited from this, but during the encore, he disappeared during “1901″ only to appear deep in the crowd and then surfing his way back to the front.

The encore was a blast, not just because of the extended “1901″ with Mars deep in the crowd, but because we were treated to two special stripped down versions of “Playground Love” and “Everything Is Everything.” It was nice to see that even though you can see this band frequently and get some of the same songs, you’re not necessarily getting the same show.

Phoenix Set List:
Lisztomania
Long Distance Call
Lasso
Consolation Prizes
Fences
Girlfriend
Armistice
Love Like A Sunset
Run Run Run
Rally
Countdown
Rome
//
Playground Love (Stripped)
Everything is Everything (Stripped)
1901

The British band Editors recently released their new music video for “Eat Raw Meat=Blood Drool,” off their latest record In This Light And On This Evening. It’s the third single off the album, and an official release date for the physical single hasn’t been announced yet.

Animated and slightly creepy, the video goes along with the new and more synthetic sound Editors explored on this record. Take a look below.

EDITORS – Eat Raw Meat = Blood Drool on muzu.tv

For more on Editors, check out their website at Editorsofficial.com.

Gypsy punk rockers Gogol Bordello are streaming their latest album at MySpace now.

Due out on American Recordings on April 27th, Trans-Continental Hustle is an ambitious undertaking in the group’s already remarkable decade-long career and is the result of an inspired, year-long collaboration with famed producer Rick Rubin.

The band is currently out on an international mini-festival called “the Casa Gogol Tour” through May 1.

Tour Dates:
Apr, 23 – Chicago, IL – Congress
Apr, 24 – Minneapolis, MN – First Ave
Apr, 25 – Minneapolis, MN – First Ave
Apr, 28 – Boston, MA – House of Blues
Apr, 29 – Baltimore, MD – Rams Head Live
Apr, 30 – Baltimore, MD – Rams Head Live
May, 1 – Philadelphia, PA – Electric Factory

*All with DeVotchKa, Jesse Malin and St. Mark’s Social, and Tres Leches Afterparty Sound Crew as support.

This past march, Alaska’s Portugal. the Man added American Ghetto to their growing list of albums.

Perhaps, you remember our glowing review of the Zeppelin-esque release, but if not you can check it out here.

We also encourage you to check out the album on your own. It’s streaming in its entirety below:

Yoko Ono is one of the most recognizable, successful female artists in pop culture today. In 2009, she released the album Between My Head and the Sky, produced by her son, Sean.

In the wake of the success of “Give Me Something,” Yoko’s fourth single in a row to reach #1 on the Billboard Dance Charts – no mean feat – I had the good fortune to catch up with her and talk a bit about her new place in the realm of dance music.

MC: Good afternoon Yoko, how are you doing?  Where are you today?
YO: In my study: in my apartment.

MC: So the big news of the week is that your single, “Give Me Something (The Remixes)”, has reached #1 on the Billboard Dance Charts.  Congratulations!  Did you have any idea that this set of remixes would be so popular?
YO: I thought it would be popular, but didn’t know that it would go up to number 1!

MC: It’s a track originally from your and John [Lennon]’s critically-acclaimed 1980 album Double Fantasy.  How did you choose this particular track for the remix treatment?  How did it jump out to you that it would work well in other people’s hands?
YO: Because it’s a good track and also one song some people might remember…familiarity is a plus.

MC: Dance music seems a big change from the experimental, avant garde music you are known for.  Were you ever worried about how your remixes would be judged by the public?
YO: I’m not so concerned about how it will be judged by anybody. First of all, you never know. Second, I always want to give my best at the time. This is the best now.

MC: What do you think John would have thought about these remixes and the importance of the dance music scene in popular music today?
YO: I am a rebel. I love the idea that I’m joining a relatively new field. I know dance music will get bigger and bigger. Because it’s a direct injection into your head and your body. Powerful stuff!

MC: On your three previous #1 dance hit single remixes, you’ve collaborated with some amazing names like the Flaming Lips, Basement Jaxx, and Pet Shop Boys.  How did these collaborations come about?
YO: By knowing their incredible talent and loving their attitude in music.

MC: And on “Give Me Something” in particular, you worked with the Swedish DJ Stonebridge, Canadian electro duo Junior Boys, and Los Angeles producer Dave Aude, just to name a few collaborators.  Quite a varied mix.  How did they get involved with the remixes?  I particularly like the Aude dub mix – do you have a favorite?
YO: I think what Junior Boys did with “Give Me Something” is incredible, I love it! I think it happened because of their love for the song. (NB: You can grab the Junior Boys’s remix at RCRD LBL here.)

MC: Since 2001 you have been releasing remixes to great audience response.  What about these remixes do you think strikes a chord with people?
YO: These remixes definitely strikes a chord with people.

MC: Have you had the opportunity yet to be at a club, heard one of the remixes be played and witnessed the crowd’s reaction to it?
YO: I have been to several clubs. I thought people were reacting warmly.

MC: With the popularity of these remixes, are you going to stay on the dance music genre for a bit?  Or can we expect a return to experimental / art rock (like in Between My Head and the Sky) with your future releases?
YO: I would love to release another CD of just dance music. In fact, it’s in the works already!

MC: What’s next for Yoko Ono?  You’ve done so many great things in your career, from performance art to civil rights activism, from recording music to performing at the Winter Olympics in Turin, Italy in 2006.  Is there something you haven’t done yet that you sincerely wish you could?
YO: Yes. To live forever in good health!

Yoko Ono: website | myspace

Have you ever hijacked a few of your parents’ vinyls? Zeppelin, Rush, Jefferson Airplane, Santana? Well take those records sitting in a dusty box in your basement and fuse them together at high heat. Yes, melt them together. Now take your melted record and place it on the record player, set the pin down and let it play. You, my friend, are hearing Earl Greyhound.

It’s almost funny that their name is itself an amalgamation, because the band is an amalgamation of awesome.

The Brooklyn three-piece released their second album, Suspicious Package last week, and it’s a refreshing jambalaya of genres – from contemporary hard rock to 70s blues rock – and I like it.

And I say refreshing because it’s completely nostalgic. Suspicious Package isn’t trying to fit in the nu-nu-indie movement that has seemed to take over the buzz bands lately, but its old feel is what makes it truly new. Almost post-modern, Earl Greyhound has put out what I’m guessing they intended to – a kick-ass rock album full of attitude, heavy guitars, and bluesy melodies.

Listening back to this album several times, I finally figured out why its sound was so different than anything I’ve heard lately. Suspicious Package is incredibly raw without sounding under-produced. While it sounds inexplicably live in the instrumentals, the multi-layered mixing sounds phenomenal with a big ol’ pair of headphones. You can hear the drums behind you and the vocals to your left and the guitar to your right. It makes for a pretty wicked listening experience. And it’s unbelievable that this much sound could come from three people. You have to admit, that’s kind of awesome.

Opening on the eerie and eccentric two-part “The Eyes of Cassandra” eases the listener into something that again feels live. At least a lot of the live shows I’ve been to starts on a long and creeping introduction, building anticipation in the audience. “The Eyes of Cassandra” has that same building quality. The cool deep harmonies of Matt Whyte and Kamara Thomas are combined with the pounding drums and groovy keyboards that almost remind me of Rush. No, seriously. That supernatural keyboard sound doesn’t necessarily continue throughout the album, but Earl Greyhound keeps the intensity from song to song.

As you move into the later tracks on Suspicious Package, you get everything from a dark Zeppelin-tinted “Sea of Japan” to the softer acoustic ballad “Out of Air.” There’s the piano-laden power ballad “Bill Evans” along with the sexy and danceable “Black Sea Vacation.” Whyte’s more melodic vocals make the second half of the record less in-your-face than the earlier songs, so you don’t ever get tired of what you hear because it’s never the same.

Earl Greyhound hits so many high notes with this album that it would be blasphemous if it didn’t get on at least a few best-of-2010 lists.

Track Listing:
1. The Eyes Of Cassandra (Part 1)
2. The Eyes Of Cassandra (Part 2)
3. Oye Vaya
4. Ghost And The Witness
5. Shotgun
6. Holy Immortality
7. Sea Of Japan
8. Black Sea Vacation
9. Bill Evans
10. Out Of Air
11. Misty Morning

Thursday started out as a gorgeous spring day here in Seattle. The cherry trees are blooming and downtown was buzzing with a rumor about a super secret Soundgarden show at the Showbox. Diehard fans spent hours tweeting, digging and looking for some confirmation of this, finding it rumored on a few different blogs and news outlets, such as local radio station 107.7 the End’s Harm’s blog and Billboard.com.

We all waited anxiously into the next morning, Friday dawning bright and sunny with a chance of Soundgarden tickets. 10 a.m. brought thousands of fans frantically refreshing the Ticketmaster link, hoping that they would be one of the lucky few to snag a ticket. Anyone lucky enough to be on the Soundgarden newsletter list was emailed the password to the Ticketmaster login (and was promptly retweeted, facebooked, texted and transmitted through other social media), selling out the limited number of General Admission, standing-room-only tickets in under five minutes. (It has been touted as 3.4 minutes, but the actual time has been unannounced by Ticketmaster or the Showbox as of yet.) I happened to be sitting at my daytime desk job, along with four of my other colleagues and my boss, all refreshing and hoping to get lucky. Thanks to Twitter and a well-timed Ticketmaster update, I managed to snag a single ticket to possibly the most sought-after Seattle show this year, Nudedragons (a carefully crafted anagram for Soundgarden).

Seven o’clock found me walking across the infamous 1st and Pike intersection in front of Pike Place Market and the location of my all-time favorite Seattle venues: The Showbox at the Market. Personally, I have been to over a hundred shows at the local landmark, and everything about it was perfect for a reunion show for a local band such as Soundgarden. The brilliant marquee proclaimed “Nudedragons: Sold Out” and the line was already around the corner when I arrived. A typical spring shower added just another reminder that the show was a true Seattle show- Seattle fans, Seattle band, Seattle venue in the heart of Seattle. The fans were a good mix of older, grunge era rockers and the next generation of 20-somethings who have heard the band on radio stations and in their parent’s cars as kids and teenagers. Everyone waited patiently through the incredibly stringent bag check and past the signs proclaiming “no cameras, no video, no audio, NO exceptions.” Since the tickets were Will Call only, the usual scalpers were replaced by fans with signs scribbled in black Sharpie on free copies of the Seattle Stranger that said “Let me be your +1! NAME YOUR PRICE!” and “Do you need a date? I am a HUGE FAN!” Venue security carded everyone and weren’t allowing “Hand-offs” of tickets, so if you paid for the show, you were the person who got in- no exceptions. Fans waited patiently through the long lines and were rewarded with entrance to the iconic venue for yet another long wait.

Upon walking in, the general floor was virtually empty, leaving both bars incredibly packed. The crowd mingled, twittered about the excitement, facebooked about running into old friends and chatted in knots of two or three. Over the next three hours, the excitement continued to build (and the now drunken revelers were wandering around to add to the crowd). There were a lot of familiar faces, including most of the members of Seattle-based Black Houses (new era grunge) sitting on the floor, and were rumors of other famous Seattle musicians such as founding Soundgarden bassist/former member Hiro Yamamoto, Mark Arm, and Kurt Bloch, to name a few. Also, localite Tre from Epidemic Presents was lurking about, along with Sub Pop frontman Jonathan Poneman. With a lot of familiar faces and a barely packed floor, there must have been no more than a thousand people in the venue, including the staff (which were incredibly numerous for such an exclusive show). After the almost agonizing three hour wait, the energy was truly incredible, and Chris Cornell stalked out onto the stage and began one of what will be one Seattle’s most historic shows to date.

Over the next ninety minutes, it became very clear that Soundgarden did not lose their touch during their 13 year hiatus from the stage. The band was all smiles during this “rehearsal show” for their upcoming August Lollapalooza gig. If the band felt any animosity towards each other, there were no telltale signs of it on stage as they all rocked out during their incredible two hour set. The fans moshed, head-banged, and sang along, having a ball as the quartet rocked their socks off. Security wandered through the crowd, making sure no one was taking video, pictures, or audio, even shining a light on my phone when I was tweeting about the show. Honestly, I have NEVER seen Showbox security be that tight, but considering the circumstances, it was understandable.

Soundgarden picked up right where they left off 13 years ago, sound-wise, and with the growing out of Chris Cornell’s signature curly locks, the show had the feel of the early ‘90s. Cornell’s voice was a little rusty through the beginning of “Spoonman” but managed to find its way back to where it belonged and continued throughout the rest of the set without complication, sounding just as good as they day Ultramega OK was released. The guitar riffs were spot on and edgy, the bass loud and thumping, grunge at its finest thanks to Kim Thayil and Ben Shepherd’s flawless finger work. Accompanied by legendary Matt Cameron’s amazing drumming, the floor of the Showbox was literally vibrating. They played loud enough that you could hear two blocks away, and security was doing crowd control out front for fans that wanted to try to catch a tiny bit of the show. “Rusty Cage” was perfect in its own gritty manner and “Outshine” was brilliant as the day it was recorded, starting just after one of my favorite quotes of the night.

Chris stepped up and stated, “This is technically a rehersal. If we f—k something up, we are going to go back and do it again, until we get it right.” For as many musicians and diehard fans that were standing on that floor right then, it was the icing on the cake for a brilliant show.

The lighting was simple and bright, hues of blues and orange to make even the most amateur concert photographer swoon, but alas, no cameras allowed. The band treated it as a rehearsal, not necessarily as a show. There was a little banter occasionally, but for the most part, the band came out and did what they do best- played for almost ninety minutes STRAIGHT, a full eighteen song set of older songs and some rare materials. According to Cornell, “We aren’t playing stuff that we stopped playing in 1997. We are playing stuff we stopped playing in 1990.” The list of songs is quite impressive and is lacking a few of their more “popular” and well known songs, such as “Black Hole Sun” and “Jesus Christ Pose” were surprisingly missing from the set list and may have disappointed some of the younger crowd present. They closed with a noteworthy rendition of The Door’s “Waiting for the Sun.” The entire show was near perfect with a sense of historic significance- something Ear Candy’s Travis Hay noted as well. After the Lollapalooza show in August, many are wondering if there will be a tour announced or what is in store for the future of Soundgarden.

Combined with the reunion show of Mother Love Bone at the Showbox on Wednesday night, there are more than a few Seattelites wondering about the resurgence of grunge in Seattle again. With great grunge bands such as Black Houses floating around, it wouldn’t be a surprise. As for Soundgarden’s future, I am hoping for another show here shortly, and agree with Mr. Hay that Bumbershoot would be the prime time to do so, and a great place for a tour kickoff as well. However, if this is truly their comeback, they have made it very plain that they would be calling the shots, and last night’s show serves as one heck of a welcome back from the Emerald City grunge crowd.

Set List:
Spoonman
Gun
Searching With My Good Eye Closed
Rusty Cage
Beyond the Wheel
Flower
Ugly Truth
Fell on Black Days
Hunted Down
Nothing to Say
Loud Love
Blow Up The Outside World
Pretty Noose
Outshined
Slaves and Bulldozers
Encore:
Get On The Snake
Big Dumb Sex
Waiting for the Sun (Doors Cover)

Written by: Annastasia Gallaher

Mates of State have released the details of their Summer Crushes tour.

The Summer Crushes tour coincides with the release of self-recorded Crushes (The Covers Mixtape), an album consisting of covers of songs by some of the Mates’ personal favorites.

They’ll be touring with Nick Thune, Suckers, Todd Barry and Free Energy.

You can download their cover of Girls‘ “Laura” for free now at MatesofState.com.

Tour Dates:

6/15 Northampton, MA @ Iron Horse * #
6/16 Rochester, NY @ Water Street * #
6/17 Philadelphia, PA @ First Unitarian Church % #
6/18 Pittsburgh, PA @ Mr. Small’s * #
6/19 Cleveland, OH @ Grog Shop * #
6/21 Cincinnati, OH @ 20th Century * #
6/22 Chicago, IL @ Lincoln Hall * #
6/23 Minneapolis, MN @ 400 Bar *
6/24 Minneapolis, MN @ 400 Bar *
6/25 Omaha, NE @ Slowdown *
6/26 Denver, CO @ Bluebird *
6/28 Salt Lake City, UT @ In the Venue *
6/30 San Francisco, CA @ Great American Music Hall * ^
7/1 San Francisco, CA @ Great American Music Hall * ^
7/2 Los Angeles, CA @ The Echo * ^
7/3 Los Angeles, CA @ The Echo * ^
7/4 Tucson, AZ @ Club Congress *
7/6 Lubbock, TX @ Jake’s *
7/7 Dallas, TX @ Granada Theatre *
7/8 Houston, TX @ Warehouse Live *
7/9 Baton Rouge @ Spanish Moon *
7/10 Birmingham @ Workplay *
7/12 Athens, GA @ 40 Watt * ^
7/13 Asheville, NC @ Orange Peel * ^
7/14 Baltimore, MD @ Ottobar * ^
7/15 Brooklyn, NY @ Music Hall ^
7/16 New York, NY @ Bowery Ballroom ^

* w/ Free Energy
# w/ Todd Barry
^ w/ Nick Thune
% w/ Suckers