popwreckoning

The Script used to be my guiltiest pleasure: when you’re a female music blogger, you get a lot of sniggering from boys in bands when they hear you’re seeing any act that is manufactured, whether real or perceived. But I’ve seen the Dublin band twice now, and I can say without a doubt that they have the goods and they bring the goods live, so the argument that they’re manufactured holds no water. I’d also like to point out that singer/piano man Danny O’Donoghue has the kind of smile that could melt a million hearts, but I digress…

The importance of a good opening band cannot be stressed enough: when they’re good, they psych up the audience, setting the stage for the rest of a great evening; but if they’re bad, it can leave a bad taste in your mouth. (The latter was true when I saw Abe Vigoda open for Vampire Weekend in April 2010 at the same venue, DAR Constitution Hall.) As I predicted, opener Hot Chelle Rae was an immediate hit with the MTV teeny crowd right from the start. The high-pitched screams as the band took to the stage nearly rivalled the headliner’s entrance later.

There’s nothing objectionable about Hot Chelle Rae: the Nashville band look like they’re trying to be really “rock” (their bass player Ian Keaggy has tattoos up and down both of his arms) but they come out sounding like lite mainstream rock. Their music has a good, infectious beat and the band members appeal to what my companion for the night refers to as “the Disney crowd.” (Not far off: think about it. They’re signed to Jive, aka the first label home of Backstreet Boys and still Britney Spears‘ label.) While their set was short (only 7 songs), it looked like the predominantly female and underage crowd would have been up for much more.

Hot Chelle Rae Set List
Beautiful Things
I Like to Dance
Alright
The Distance
Bleed
Teenage Dream
Tonight, Tonight

It’s interesting attending a show filled with teenagers. None of them can drink of course, so the line for the bar is short or nonexistent, and because they can’t drink, they’re all trying to look cool by milling about near the merch table. But once they’re seated and the show starts, something magical happens. I won’t show my age by revealing when I saw my first show, but watching all those girls in their micromini summer dresses jostling each other to take photos of the bands and fighting each other for guitar picks was, shall we say, rather heartwarming to me. And if you have to choose a band for your first gig, I don’t think you can do much better than the Script in a nonthreatening, huge venue like Constitution Hall that can support a spectacular light show featuring flashing lights, interactive backdrops, and live zoom-in shots of the Script (primarily for the benefit of those unfortunate souls up in the nosebleed sections).

This Dublin band is both disarming and incredibly charming. They sneaked their way into everyone’s heart by being apologetic for their June gig cancellation due to illness. They told stories about whiskey and getting drunk and let’s face it, these kinds of stories go down better when told by Irishmen. They complained about the DC heat and said they wanted to move here so they could work on their tans. To say they had the audience eating out of their hand is an understatement. Still, it was the music that wowed the most.

“Nothing” is probably one of the saddest pop songs ever written; it’s the musical equivalent to drinking yourself to death after getting dumped. I had to pat myself on the back for not crying when this song came on. If guitarist Mark Sheehan is to be believed, it was written after a night of boozing when O’Donoghue’s heart got broken and he made an ill-advised cell phone call to his ex. The only weird part about the live performance of this song is that O’Donoghue had the biggest of grins on his face while he was singing it. I guess life as the frontman of one of the biggest bands in Europe (and now the world) isn’t too bad.

Of similar topic and with a decidedly more lighthearted bent, “If You Ever Come Back” was a definite highlight of the night, as everyone’s arms were raised and waving in time to O’Donoghue’s own. “Rusty Halo,” with its r&b groove and aggressively red lighting, segued effortlessly into the song that finally broke them here in the States, “Breakeven.” I wasn’t sure how the band could top that when they returned for the encore but a similar singalong broke out for the closer, “For the First Time.” My only complaint: the set list was far too short. Maybe they were trying to follow the DC curfew laws and make sure all those kiddikins could leave the place on time? All in all though, it was a superb night of much and atmosphere, ending on a high note.

The Script Set List
You Won’t Feel a Thing
Talk You Down
We Cry
The Man Who Can’t Be Moved
If You Ever Come Back
Before the Worst
The End Where I Begin
Science & Faith
Nothing
Dead Man Walking
Rusty Halo
Breakeven
//
This = Love
For the First Time

Tour Dates
Sept 04 – Stage AE / Pittsburgh
Sept 06 – LC Pavilion / Columbus
Sept 07 – Fillmore Detroit / Detroit
Sept 09 – Ryman Auditorium / Nashville, TN
Sept 10 – PNC Pavilion @ Riverbend Music Center / Cincinnati
Sept 11 – Murat Theatre / Indianapolis
Sept 13 – Palace Theatre / Louisville
Sept 14 – Pageant / St. Louis
Sept 16 – Hartman Arena / Park City, KS
Sept 17 – Table Athletic Center @ Carthage College / Kenosha, WI
Sept 18 – Ogden Theatre / Denver
Sept 20 – Crystal Ballroom / Portland
Sept 21 – Paramount Theatre / Seattle
Sept 23 – Fox Theatre / Oakland
Sept 24 – Palladium / Los Angeles, CA
Sept 25 – Marquee / Tempe
Sept 27 – Riverwind Casino / Oklahoma City
Sept 28 – Coins Ballroom / Tulsa
Sept 30 – Stubbs Waller Creek Ampitheatre / Austin, TX
Oct 01 – House of Blues / Houston
Oct 02 – Palladium / Dallas
Oct 04 – Mahalia Jackson Theatre / New Orleans
Oct 05 – Ruth Eckerd Hall / Clearwater, FL
Oct 07 – Fillmore Miami Beach / Miami
Oct 08 – Hard Rock Live / Orlando
Oct 09 – Tabernacle / Atlanta
Oct 11 – Fillmore Charlotte / Charlotte
Oct 13 – Roseland Ballroom / New York City
Oct 14 – Paramount Theatre / Huntington, NY
Oct 15 – MGM Grant Theatre at Foxwoods / Mashantucket, CT

The Script: website | myspace | The Script – “Breakeven” | Science & Faith review
Hot Chelle Rae: website | myspace

Top 3 Albums of 2010:

• Yeasayer – Odd Blood
• Vampire Weekend – Contra
• Foxy Shazam – Foxy Shazam
  

Best Show of 2010:

• I have to pick two: mewithoutYou at the Granada and Foxy Shazam at the recordbar.

Most Anticipated in 2011:

• Bright Eyes

Most Overrated in 2010:

• Lady Antebellum (2010) and Train (2009). Let’s finally bury those shitty singles in 2011, shall we?

Favorite Musical Memory of the Year:

• Seeing Cursive for the first time – I know, I can’t believe I hadn’t either – and interviewing Kevin Devine AND sitting there while he played two acoustic songs for us, one from Bad Books months and months before it was released.

Bundled in hoodies and clutching blankets, Kansas City huddled together for one of the last outdoor concerts of the season at Starlight Theatre. Fortunately for these human popsicles, the live music they were about to witness is some of the most summery, heart-warmingly effervescent tunes a person could hope to hear.

DJ/MC combo act The Very Best had first warm-up duties, and warm the crowd up they did. This group made waves for their remixes of popular artists and blending those mixes with the honeylike vocals of MC Esau Mwamwaya. Their music tonight was their original tunes from their debut LP which includes the globally acclaimed “Warm Heart of Africa.” The recorded version of this features Vampire Weekend’s front man, Ezra Koenig. The audience didn’t seem to mind that they didn’t recognize what Esau was saying as the jubilant singer belted out songs in his native tongue of Chichewa. Everyone was eager to embrace this underdog act.

by Scott Spychalski

by Scott Spychalski

The weather got chillier as the musical vibe also cooled down for indie act Beach House. The piano duo was accompanied by a few more musicians than what I’ve usually seen them tour with. Enshrouded in blue lights and backlit by glowing pyramids, the group lightly pounded piano chords and ‘ah ha ha ha-ed’ through their set. It wasn’t as exuberant as their the music of their tour mates, but it demanded attention. The audience sat entranced as Beach House played through “Norway,” “10 Mile Stereo” and other popular blog hits. There was less moving and dancing, but the audience was too enraptured to feel cold.

After a long set change, the happy  lads in Vampire Weekend triumphantly took center stage…and triumphantly is not an exaggeration. They walked to epic entrance music with arms raised as the audience roared in excitement. Then without further delay they jumped into “Holiday.” Never have I ever seen an audience so into a set from start to finish as this Vampire Weekend show. There was jumping, dancing in aisles and even spirit fingers. For an entire song, Vampire Weekend convinced the audience to do spirit fingers.

The happiness was contagious. Vampire Weekend played through just about anything you’d want to hear from their two-disc catalogue. From the chandeliers synced with the snare, to the fancy footwork of the band, to the impressive vocal range of Koenig, to the blisteringly fast fingers of Rostam Batmanglij over the piano, and then even to a nice twist on a Bruce Springsteen cover, Vampire Weekend played a nearly perfect concert.

There was one weird moment when the band started to play single, “Giving Up the Gun,” but then suddenly stopped and said that it wasn’t feeling right. Now, normally, bands either push through or restart the song, but they just completely gave up on ‘The Gun.” Weird. While Kansas City would have rioted against any other band, the only thing that really upset the audience was when Koenig made the common faux pas of saying he was in Kansas when in actuality, he was in Kansas City, MO. Come now, Koenig, you went to Columbia. You should know your geography a little better than that.

Nonetheless, even with the cold, everyone had warm fuzzies by the end of this show and you’d be hard-pressed to find anyone disappointed with Vampire Weekend’s debut Kansas City performance.

Set List:
Holiday
White Sky
Cape Cod Kwassa Kwassa
I Stand Corrected
M79
Bryn
California English
Cousins
Taxi Cab
Run
A-Punk
Blake’s Got a New Face
I’m Goin Down (Springsteen cover)
Diplomat’s Son
I Think Ur a Contra
Giving Up the Gun (very briefly)
Campus Oxford Comma
//
Horchata
Mansard Roof
Wolcott

On the first of a two-night run at the Paramount in Seattle, Vampire Weekend redeemed themselves Wednesday after a last-minute cancellation last month at Marymoor Park. While it may not have been a summer Sunday night at an outdoor amphitheater, the show was still lovely in the recently remodeled classic Paramount Theater with its phenomenal acoustics and towering ceilings.

While I haven’t been to the Paramount in over a year, I completely forgot that when the Paramount says the show starts at 7:30, it doesn’t actually mean that’s when the doors open, so I arrived literally during the Head and the Heart. Hearing some friends gushing about them afterward, I felt terrible that I didn’t get to see more of their performance.  But I did go home to listen to the the local six-piece’s soft piano-laden pop harmonies, and I strongly suggest you look them up. I didn’t get the chance to see them for more than a few minutes, so learn from my mistakes. I mean, most of the crowd didn’t give them nearly the love they deserved, because they were just anxious to see Vampire Weekend, take two.

Shortly before 8:45, Vampire Weekend took the stage, decorated with floating chandeliers ascending and descending high above the band, like their first album cover come to life. Starting right into their new single “Holiday,” the band played their hearts out with the 18-song set and a 4-song encore.

“It’s not a Sunday in the Park but thanks for being here,” Koenig exclaimed to the crowd. “We can pretend it’s a nice summer day.” The theme of redemption rang throughout the night, with Koenig actively including the people in the show. In fact, at one point during “Giving Up The Gun,” a fan got up on stage with a homemade sign with the resounding chorus line “Go on,” and she flailed it around wildly next to keyboardist Rostam Batmanglij.

“Good for her!” Koenig said, as she jumped off the stage at the end of the song.

As I stood to the right of the stage, I couldn’t help but notice how light Chris Baio is on his feet. Seriously, once you see his fancy footwork, it’s hard to pay attention to anything else during the show. I mean, “Cousins” and “A-Punk” already made me want to dance, but seeing Baio’s moves made it impossible to resist shaking my hips just a bit.

Who am I kidding? I didn’t stop dancing. Well, except during the slow and ethereal “I Think Ur A Contra,” which I was so pleased to hear, because they didn’t play it at Sasquatch back in May, and it’s one of my favorites off Contra. It was a nice break from the otherwise effervescent hits.

Another nice surprise of the night was a Springsteen cover. I’m sure plenty of the kids in the house had never heard Springsteen’s “I’m Goin’ Down,” but Vampire Weekend did the song great justice. Hopefully it isn’t a one-time thing.

After their cheeky hit “Oxford Comma,” the band stepped off stage the first time, which was short-lived as they jumped back on stage with “Horchata.” Naturally everyone went a little nuts.

“We haven’t played this song in a long time, but someone on Twitter requested it, saying ‘You owe us!’” Koenig said, and then agreed with said tweeter, starting into the riffs of “The Kids Don’t Stand A Chance.” It wasn’t nearly as energetic as one would expect in an encore, but it was so charming that the guys tried their hardest to redeem themselves after the disappointing cancellation last month. In case you aren’t familiar, it was August 31, and the Dum Dum Girls and Beach House had both finished their opening sets, the crowd sat around for an hour before the band announced that the show was cancelled. Koenig’s voice had been strained that day and when he saw a doctor he recommended Koenig not sing because of inflamed vocal chords.

Needless to say, the crowd was less than enthused that they had to drive home without seeing Vampire Weekend. So three weeks later, all the Marymoor Park tickets were honored at the two-night run at the Paramount.

“I don’t want to apologize too many times, so I’ll say thank you,” Koenig said. “We couldn’t ask for anything better than for you guys to give us a second chance…and then plus to get to play with Seattle’s own the Head and the Heart. We’ll never give you the run-around again.”

Finishing out the lengthy set, for “Mansard Roof,” Koenig instructed the crowd, “the only way to dance to this song, just go with it,” is to do spirit fingers. Spirit fingers, you ask? Why yes, actual spirit fingers. “And your arms may get tired, but this is a short song!” So everyone’s hands went up, with their fingers wiggling up to the sky as the quick song built to the final song of the night – “Walcott.”

As the second song referencing Cape Cod, it was quite an epic sing-along with Baio on an upright bass and Koenig shouting out jubilantly “Don’t you wanna get outta Cape Cod tonight?” over and over again until I feared his voice may give out again.

Going back to what Koenig said about never giving Seattle the run-around, I can’t help but agree with an inexplicably loud guy from the crowd:

“You’re forgiven!”

Set list:

“Holiday”
“White Sky”
“Cape Cod Kwassa Kwassa”
“I Stand Corrected”
“M79″
“Bryn”
“California English”
“Cousins”
“Taxi Cab”
“Run”
“A-Punk”
“One (Blake’s Got a New Face)”
“I’m Going Down” (Bruce Springsteen cover)
“Diplomat’s Son”
“I Think UR a Contra”
“Giving Up the Gun”
“Campus”
“Oxford Comma”

Encore
“Horchata”
“The Kids Don’t Stand a Chance”
“Mansard Roof”
“Walcott”

Taking the three-hour drive to the Columbia River Gorge is a boring trip. You merge a couple times from state route 16, then from I-5 to I-90, over a mountain pass and through the eastern Washington flatlands. But when you reach the Gorge on Memorial Day weekend, it’s like a dome of awesome civilization in the middle of empty Washington wasteland. It was the second year in a row that I traveled to the Sasquatch! Music Festival, but this year I’d be spending all three days at the Gorge, camping about a quarter of the mile from the festival grounds, where one could still hear the music late into the night after tucking one’s self into one’s sleeping bag.

This weekend was nothing less than glorious. The clouds defied the weather forecast, which told us that it would be cloudy and possibly raining all weekend. Only a couple bouts of rain didn’t damper the festival at all. In fact, the rain we did get was refreshing and added to the greatness of the Columbia River Gorge.

I’ll start with Saturday. After waiting in line for over an hour, I finally arrived on the festival grounds, and headed over to the newly renamed Bigfoot Solar Stage. It used to be called the Wookie Stage, but as a preemptive action against any sort of lawsuit from George Lucas, the Sasquatch organizers changed the name. Catching the second half of Mumford and Sons, I could tell that people were already crowding in front of each stage.

Following Mumford and Sons was Portugal. The Man on the same stage. I’m really glad I stayed to watch them, because the crazy psychedelic rock that you find on their record Censored Colors sounds even better live. And with such songs like “Lay Me Back Down,” the relatively large crowd could sing right along with the chorus. It was a good way to start the day. The very long day.

With my first of two steep treks down to the main stage, I was reminded how much I really love this venue. Actually, Damian Kulash of OK Go, the band playing on the main stage next, said it best:

“You know, we play a lot of these festivals, and most of the time the venue sucks and the bands blow, but this place is fucking awesome.” Or something like that. You get the gist.

As much as I love OK Go for their genius music videos, they were surprisingly good live. Fun and energetic, and it was only 3 in the afternoon. It was too bad their crowd was small though, because I’m pretty sure Kulash would have crowd surfed a lot further if he’d had the ability to. Playing through some oldies but goodies, like “Get Over It” from their 2002 debut album, as well as the funky “White Knuckles” off their newest Of The Blue Colour of the Sky, it was a joyful and satisfying set. One thing though – with how breathy and seductive Kulash’s voice is most of the time, you’d never expect him to bust out this gut-draining shriek. But he did. It was cool.

I headed back up to the Yeti Stage, the smallest of the three outdoor stages, to see one of my favorite local bands The Lonely Forest for the third time this year. What can I say? They’re really good. But I could tell that it was still a bit intimidating being at Sasquatch because they were good, but they weren’t as good as at the Seattle clubs. But that is one of the parts of Sasquatch that I really love – we get a lot of locals. Sasquatch doesn’t import nearly as many acts as other festivals do. The Lonely Forest did mention the new record they have coming out this year that they just finished recording with Chris Walla’s new label Trans. Hearing those new songs again was nice.

Back at the main stage, The National was getting ready to take the stage and the floor started to fill up. This was about when the sun started to set, and the smell of marijuana was inescapable, and the threat of sunburn in the part of your hair was no longer a worry. The perfect time of night at the Gorge. The National took the stage a bit late, making everyone in the pit incredibly anxious, but in the end it was worth it. Playing some of their best songs, including the haunting “Afraid of Everyone” off High Violet as well as a plethora of older songs, the crowd was clearly satisfied. Matt Berninger actually ventured out into the pit towards the end of their set holding up his microphone cord as to not get tangled in the jumble of fans. Some would find Berninger’s energy flat, because it is an odd stage presence. At times he seems a bit angry, but I enjoy his intensity. It’s a quiet intensity. I think without the jumbo screens adjacent to the stage, it wouldn’t have been suited for the giant amphitheatre, but this time it worked.

A stark change from The National’s energy, the lovely and adorable and so full of energy Vampire Weekend took the Main Stage at as on-time as they could have been. I was so thankful when they announced the lineup for Sasquatch this year, because when I saw Vampire Weekend back in December it wasn’t for but twenty short minutes. And that’s not nearly enough time to fully enjoy a band. It got a second chance to love Vampire Weekend at Sasquatch. Being shoved in that pit made it even better, because everyone around me was equally as excited. This guy, about 6’3”, standing next to me kept saying, “I’m so happy right now!” And that was the general consensus I gathered from the thousands of people in the amphitheater that night, as well as from the band. Frontman Ezra Koenig made the second declaration of the Gorge’s sheer awesomeness that day, and Koenig has enough energy himself to carry the entire place. It was the perfect way to follow The National, with a giant dance party to songs like “A-Punk,” “Walcott” and ridiculously quick and almost derailing “Cousins.” And it was quite magical to hear thousands of people singing at the top of their lungs “Blake’s got a new face!” during the song “One.”

It was as I hiked up the hill to the campground that I knew that this was going to be a good weekend.

Stay tuned for a recap of Sunday and Monday, which were equally as awesome.

For a full set of photos from Saturday, go to http://www.flickr.com/photos/abbigshmail/sets/72157624061143157/

Sunday’s coverage: http://popwreckoning.com/2010/06/03/sasquatch-festival-sunday-with-local-natives-kid-cudi-dirty-projectors/

Monday’s coverage: http://popwreckoning.com/2010/06/04/sasquatch-festival-monday-with-the-temper-trap-the-mountain-goats-mgmt/

Syracuse NY’s most internationally beloved export Ra Ra Riot will issue its second full length album, The Orchard, August 24 on Barsuk in the U.S. International release dates will be confirmed and announced shortly.

Produced by Ra Ra Riot and Andrew Maury and mixed by Chris Walla (with one assist from Vampire Weekend‘s Rostam Batmanglij), The Orchard is 10 more stunning offerings of the bittersweet and endearing Ra Ra Riot blend that Entertainment Weekly likened to “Unforgettable Fire-era U2.”

The Orchard’s full track listing is:

1. The Orchard
2. Boy
3. Too Dramatic
4. Foolish
5. Massachusetts
6. You and I Know
7. Shadowcasting
8. Do You Remember
9. Kansai
10. Keep It Quiet

The roster for the 2010 Austin City Limits Music Festival is official. The Eagles, Muse, Phish, The Strokes, M.I.A., Flaming Lips, LCD Soundsystem, Spoon, Vampire Weekend, and Norah Jones top the bill of 130 acts slated to rock Zilker Park October 8-10. Also performing the ninth edition of this year’s Festival: Band of Horses, Monster of Folk, Deadmau5, Sonic Youth, Gogol Bordello, The National, and Robert Earl Keen.

This year’s line-up is diverse as ever, with something for everyone, and plenty of new talent to discover. Broken Bells, The Temper Trap, Girls, and Miike Snow are all making their first ACL Festival appearance, and getting a lot of attention from fans and critics alike. Ryan Bingham and The Dead Horses, Robert Randolph & The Family Band, Ozomatli, Nortec Collective, and Trombone Shorty & Orleans Avenue span a wide array of genres, and reflect the flavor of the Festival and the tastes of what ACL fans have come to expect.

The full line-up listed by day is available at www.aclfestival.com. Single Day Tickets are on-sale today, May 18 at 10 a.m. CDT.

Three-Day Passes for the 9th annual Austin City Limits Music Festival sold-out in 14 hours, a record since the Festival’s inception in 2002. A limited number of Three-Day VIP passes and travel packages are still available.

Austin City Limits Music Festival happens October 8-10 in Zilker Park.

The 2010 Austin City Limits Music Festival is generously sponsored by Budweiser, AMD, ZYNC from American Express℠, Austin Ventures, BMI, H-E-B, and Sweet Leaf Tea.

The Eagles
Muse
Phish
The Strokes
M.I.A.
Flaming Lips
LCD Soundsystem
Spoon
Vampire Weekend
Norah Jones
Band of Horses
Monsters of Folk
Deadmau5
Sonic Youth
Gogol Bordello
The National
Robert Earl Keen
The Black Keys
Broken Bells
Slightly Stoopid
Yeasayer
Pat Green
Rebelution
Beach House
The Sword
Matt and Kim
The XX
Portugal. The Man
The Temper Trap
Edward Sharpe and the Magnetic Zeroes
Girls
Ryan Bingham & The Dead Horses
Local Natives
Gaslight Anthem
Lucero
Devandra Barnhart
Blues Traveler
Pete Yorn
The Soft Pack
Gayngs
Amos Lee
Robert Randolph & The Family Band
Ozomatli
Richard Thompson
Martin Sexton
Manchester Orchestra
The Almighty Defenders
Miike Snow
Mountain Goats
Bear In Heaven
Mayer Hawthorne
Midlake
Foals
Switchfoot
Cage The Elephant
JJ Grey & Mofro
Kinky
Angus & Julia Stone
The Morning Benders
Hockey
White Rabbits
David Bazan
Asleep at the Wheel
Trombone Shorty & Orleans Avenue
Nortec Collective
The Very Best
Beats Antique
Henry Clay People
Blind Pilot
GIVERS
Dawes
Band of Heathens
Charlie Mars
Two Door Cinema Club
Lissie
Sarah Harmer
Constellations
T. Bird and the Breaks
Chief
Frank Turner
Those Darlins
Carolyn Wonderland
Kings Go Forth
The Relatives
The Ettes
Qbeta
Mynamisjohnmichael
Basia Bulat
Balmorhea
Dan Black
The Jane Shermans
The Kicks
Ponderosa
Two Tons of Steel
Caitlin Rose
SPEAK
Run With Bulls
Maxim Ludwig
Gospel Stars
Heavenly Voices
Wesley Bray & The Disciples of Joy
Jones Family Singers
Ashley Cleveland & Kenny Greenberg
Buddy & The Straight Way Travelers
Ruby Jane Smith
Verve Pipe
Frances England
Jellydots
Elizabeth Mitchell
Okee Dokee Brothers
Tom Freund
School of Rock
Q Brothers

BBC Live Lounge always encourages visiting artists to cover other current acts. Sometimes the covers ho hum, but for the UK folk rock act Mumford & Sons, we got a beautiful acoustic cover of Vampire Weekend‘s single “Cousins.”

It starts off with a slowed down intro to the song. Harmonies are extra stand out as they are only accompanied by guitar. Then the drums count out a speed in double time. Then its like a good ole jamboree with the remaining song. Notes plucked on the guitar in this sped up half of the song are plucked and open sounding – not the washed blur of notes like you get in the Vampire Weekend. This cover is breathtakingly crisp – and to think it is live!

The energy that makes Vampire Weekend so great is there and the cover isn’t so out there that you’re wondering to whom in the world they’re giving homage, but the definitely made this their own.

I know people have mixed feelings about Vampire Weekend, but hipster points aside, I think you’ll have to admit you love this cover.

Mumford & Sons will be coming to the states in early summer to play music festivals and brief tour. Be sure to check them out. Maybe we’ll get to hear the cover in addition to their awesome debut album. Fingers crossed.

. Mumford & Sons cover Vampire Weekend’s “Cousins”

Los Angeles favorite sons and Smell staples Abe Vigoda recently announced a month-long Spring tour with Billboard chart-toppers Vampire Weekend.

In addition to the Vampire Weekend dates, the boys will also be playing a handful of shows with Nottingham punks Lovvers, Vivian Girls, Effi Briest and Gringo Star. Abe Vigoda will be debuting some brand new tracks from the yet to be titled follow-up to the Reviver EP, set for release sometime this summer on PostPresentMedium.

Listen to a demo of the new track “Crush” here.

Tour Dates:
March 6 -  21 Grand / Oakland, CA **
March 7 – Bottom of the Hill / San Francisco , CA **
March 9 – Crepe Place / Santa, Cruz, CA **
March 10 – Echo / Los Angeles, CA **
March 11 – Bar Pink Elephant / San Diego, CA **
March 12 – Trunk Space / Phoenix, AZ **
March 13 – Corazon / Santa Fe, NM**
March 16 – Lounge on Elm St. / Dallas, TX **#
March 22 – First Avenue / Minneapolis, MN*
March 23 – Riverside Theater / Milwaukee, WI*
March 24 – The Project Lodge / Madison, WI@
March 25 – Riviera Theater / Chicago, IL*
March 26 – Riviera Theater / Chicago, IL*
March 27 – Tennessee Theater / Knoxville, TN*
March 30 – The Sound Academy / Toronto, ON*
March 31 – Mercury Lounge / New York, NY##
April 1 – Orpheum Theatre / Boston, MA*
4/2 – Electric Factory / Philadelphia, PA*
4/3 – DAR Constitution Hall / Washington, DC*
4/5 – Ryman Auditorium / Nashville, TN*
4/6 – Orange Peel / Asheville, NC*
4/8 – The Tabernacle / Atlanta, GA*
4/9 – House of Blues / New Orleans, LA*
4/10 – Stubb’s BBQ  / Austin, TX*
4/11 – House of Blues / Dallas, TX*
4/13 – Marquee Theater / Tempe, AZ*
4/14 – Fox Theater / Pomona, CA*
4/19 – Fox Theater / Oakland, CA*
4/20 – Fox Theater / Oakland, CA*
*= w. Vampire Weekend
**= w. Lovvers
# =w. Vivian Girls
@ = w. Gringo Star
## = w. Effi Briest