After getting beaten up in a highly unexpected mosh pit at a small club show on the outskirts of Boston the night before and making a hasty retreat from that mess, I was actually looking forward to seeing a show at the House of Blues the next night. I’d heard mixed reviews for the House of Blues and their many outposts scattered across the U.S. – huge places with overzealous security and little atmosphere was the consensus. So after a fun night at the Philly Trocadero 3 days earlier, I wasn’t expecting much from the WFNX-sponsored Temper Trap show Wednesday night.
Security at the House of Blues was professional and courteous. Maybe it was my photo pass but everyone I encountered at the venue was super nice. And I didn’t get patted down like I was in Philly, so I didn’t feel violated. Once inside on the ground level, I gasped as I looked around. The place is massive (twice as big as the Trocadero, with room for 2,400) but it’s beautiful and breathtaking. Helpful security inside advised, “watch your step, ladies,” as there are several steps to negotiate. Well lit, well stocked bars and clearly marked restrooms on this floor – definite pluses. While I was waiting for the show to start I got to talking to two kids from the local Berklee College of Music; it was really cool to talk to “the young people” and hear their appreciation for the Temper Trap’s music. I also advised them to invest in a good set of earplugs, which turned out to be an excellent suggestion given that this was the House of Blues and the size of the speakers hanging from the ceiling should have immediately told you that the gig that night was going to be loud.
It is really cool to see how bands get more at ease after the first night of a tour. The Hundred in the Hands, while being only two people on an expansive stage, sounded better on the House of Blues’s state of the art sound system than they did in Philly. Lead singer Eleanore Everdell was visibly more confident as well, smiling broadly as the audience not familiar with their music politely clapped between songs. Guitarist Jason Friedman looked like he was having a ball on stage, strumming on one of his two guitars.
Highlights were “Lovesick (Once Again)” and “Young Aren’t Young,” showing me yet again the understated beauty of Everdell’s voice. Unfortunately they didn’t play “Gold Blood,” one of my favorite tracks from their self-titled debut album released on Warp Records last month. By the end of the set, the Brooklyn duo had already won some new fans, as evidenced by the people who shouted in displeasure when Everdell announced their sixth and final song. Great to see people responding to them.
Once the Hundred in the Hands‘ equipment was removed from the stage, it was time for Delphic to set up their gear, which is a lot. Standard drum kit and guitars but a couple synths and electronic drum pad setups as well. This is a band that has played to thousands at Glastonbury so I didn’t think the bigger stage (compared to the Trocadero’s) would faze them. And I don’t think it did, really. Singer/bassist James Cook looked more poised and his voice sounded better than ever. Multi-instrumentalist Rick Boardman, guitarist Matt Cocksedge, and touring drummer Dan Hadley were completely on.
The problem was the audience. They never really got into the music and generally just looked bored for both support bands, all waiting (impatiently looking at their mobile phones, I might add) for the Temper Trap. There was no fist pumping or rampant dancing like Sunday night in Philly. (It should be noted that the venue was pretty empty at the start of the night and it wasn’t until shortly before the Temper Trap were due on that the floor filled out.) Too bad, their loss. There was one girl who talked to me after the show who said she was going to buy Acolyte in a music shop as soon as she could, so I was pretty happy about that.
It’s been over a year since I first heard “Counterpoint” on BBC Radio, and I’ve had Acolyte for a long time now, listening to it constantly, so I know all the words on the album. I like to sing in general and this spills over into shows too, so you can imagine this is potentially embarrassing at gigs. But when I did sing, Cook looked my way a couple times and smiled, as if acknowledging this dubious mastery. Haha. Also, I got my wish for “Submission,” my favorite song from Acolyte, and maybe it was the echoes in the huge venue, but the vocal key sounded a bit off. Maybe they are a little rusty after having a couple weeks off between gigs, but I imagine this will wear off after some more gigs stateside. (As of this writing I’ve already read some great comments about their set from the New York and Montreal shows that followed.) I’m looking forward to seeing them in DC in a few days.
Delphic Set List
Clarion Call
Doubt
Red Lights
This Momentary
Submission
Halcyon
Counterpoint
It is a real joy to watch the Temper Trap at this stage of their career. When the well-oiled Temper Trap machine gets fired up, hold on tight, because you’re in for a wild ride. “Fader” was the first Temper Trap song I learned on bass, so it holds special meaning to me, but wow, when it’s offered up to fans live, it’s like a explosion of energy. With its jangly guitar riffs and emotional lyrics, the Melbourne band’s power ballad “Love Lost” is going ensure their place in popular music history. I’m not one to get emotional at gigs, but I have to say that this song brought me to tears. It’s just perfect.
It was fun to witness the thrill of fans who had waited to see their current favorite band. I was surprised to learn that of everyone I talked to, I seemed to be the only one who’d seen them before. One woman came with her boyfriend and requested that he catch her if she fainted when Dougy Mandagi appeared. (She didn’t faint, I’m happy to report. But she was so animated after the gig, she was practically glowing with excitement, chattering away on how great they were.) The students I mentioned before were waiting for their favorite song, “Down River,” and with its fun chorus that got everyone singing along, they weren’t disappointed.
Part of me wishes that the Temper Trap would mix things up, because Wednesday night in Boston was the fourth time I’ve seen and heard that exact same set list this year. I can’t imagine it being too difficult to change song order, because it’s not like they have complicated synth setups like their two openers. But really, how can you complain when they put on such an amazing show, night after night? Cheers guys.
The Temper Trap Set List
introduction
Rest
Fader
Fools
Down River
Love Lost
Soldier On
Sweet Disposition
Resurrection
Drumming Song
//
Rabbit Hole
Science of Fear
Tour Dates (dates with all three bands except those noted)
Oct 07 – Newport Music Hall / Columbus
Oct 08 – DC9 / Washington, DC^
Oct 09 – Austin City Limits / Austin*
Oct 09 – MOTR Club / Cincinnati%
Oct 11 – St. Andrews / Detroit
Oct 12 – Metro / Chicago
Oct 13 – Turner Hall / Milwaukee
Oct 14 – First Avenue / Minneapolis
Oct 18 – Crocodile / Seattle%
Oct 19 – Woods / Portland%
Oct 21 – Popscene / San Francisco&
Oct 22 – Fox / Pomona, CA
Oct 23 – Club Nokia / Los Angeles
^ Delphic only
* the Temper Trap only (festival appearance)
% the Hundred in the Hands only
& Delphic and the Hundred in the Hands only
The Temper Trap: website | myspace | @ 9:30 Club | @ Bonnaroo 2010, Day 1 | The Temper Trap Announce August-October North American Tour with Delphic and The Hundred in the Hands | @ Showbox at the Market | @ Trocadero, Philadelphia
Delphic: website | myspace | American Release Details of Delphic EP | Delphic’s Debut Album Streaming on Their MySpace | @ Trocadero, Philadelphia | Interview with: Matt Cocksedge of Delphic, Part 1, Part 2
The Hundred in the Hands: website | myspace | ‘Pigeons’ takes flight with Foals’ remix | @ Trocadero, Philadelphia
