Last weekend, the Brooklyn Electronic Music Festival took over Williamsburg. While not as expansive as other festivals like CMJ, the close proximity of the venues made it easy to jump from show to show. You could start the night watching an unknown up-and-comer at Cameo, go across the street for one of the headlining acts at Music Hall of Williamsburg, then go a few blocks and finish the evening with a late-night set at Glasslands.
CMJ’s annual Music Marathon recently took over parts of New York City (mostly Manhattan’s Lower East Side and Williamsburg, Brooklyn). Even without an official badge, it was easy to find a mix of old favorites and bands that could be the next big thing. Here’s our recap:
Paper Garden Records Showcase
While CMJ didn’t start until Tuesday, we spent Monday night watching the Mountain Goats at Bowery Ballroom. The following day, we headed to the Paper Garden Records showcase at the Living Room. Although we didn’t win any of the Schwinn bikes the label was giving away, we did get to see Washington, D.C.-based Pree and Conveyor, one of the buzz bands of this year’s CMJ.
Terrorbird Media/Impose Showcase
Terrorbird Media and Impose’s showcase at Cake Shop on Wednesday featured some of the best performances we saw all week. Early sets from Wild International, Win Win and Michna started the day off great, but the highlight was producer Flume. The 20-year-old Australian performed songs from his upcoming debut album and even mixed in a bit of Notorious B.I.G. into his set.
After Flume, cross-dressing rapper Mykki Blanco gave a fiery performance, moving spastically around the small stage. And then, Prince Rama played songs from their new album, Top Ten Hits of the End of the World, in which they don the personas of ten fictional bands who perished in the apocalypse.
Tell All Your Friends PR Showcase
Tell All Your Friends PR held their party a few doors down at Pianos. Wooden Indian Burial Ground played a gritty, psychedelic rock set in the upstairs lounge to a fairly small crowd, but we did spot NPR’s Bob Boilen right up front.
The Delancey
Finally, we finished off the night by stopping in to see Rochester-favorites the Demos play a set at the Delancey. Despite the weird setup of the venue, the band laid their power pop on thick enough to leave an impression on NYC.
KEXP @ CMJ
On Friday, we camped out at Union Square Ballroom for KEXP’s annual CMJ event. The Seattle radio station broadcast music and live performances there throughout the week, and on Friday, the tiny room hosted some incredible bands.
Wild Nothing played early in the day, followed by one-man-band Kishi Bashi, who looped his violin and voice to create complex arrangements in the vein of Owen Pallett.
The Antlers headlined the event, playing mostly songs from their new Undersea EP, like “Drift Dive,” and a few from Burst Apart, “No Widows” and “Hounds.”
AAM Showcase
On Saturday, AAM hosted their CMJ party at Knitting Factory. The Denzels got rid of any CMJ hangover with the first set of the day. The group, who recently released their new EP, Easy Tiger, gave a powerful performance that got even the most tired concertgoers on their feet.
Fleet Foxes side project Poor Moon filled the room with harmonies, and later, Free Energy closed out the show with a bunch of new jams and favorites.
BrooklynVegan Saturday Day Party
In between Poor Moon and Free Energy, we skipped over to Public Assembly to catch a not-typical CMJ set from Miguel. After some initial setup problems, Miguel charmed the packed room, which left many standing outside. The set was short, only four songs, but he more than proved himself.
The Launch Pad
We finished CMJ at Spike Hill, where Baeblemusic held their Launch Pad event. Choir of Young Believers played their final show at CMJ. All the way from Denmark, the band’s dark orchestral pop was definitely a standout of this year’s lineup.
Posted in Concert Reviews, Music Reviews, Photos
Tagged AAM, BrooklynVegan, Cake Shop, Choir of Young Believers, CMJ, Conveyor, Flume, Free Energy, KEXP, Kishi Bashi, Knitting Factory, Michna, Miguel, Mykki Blanco, Paper Garden Records, Pianos, Poor Moon, Pree, Prince Rama, Public Assembly, Spike Hill, Tell All Your Friends PR, Terrorbird, The Antlers, The Delancey, The Demos, The Denzels, The Living Room, Union Square Ballroom, Wild International, Wild Nothing, Win Win, Wooden Indian Burial Ground
The Mountain Goats just finished a sold-out four-night run in New York City, two shows at Music Hall of Williamsburg and two at Bowery Ballroom.
On the third night, the first at Bowery Ballroom, Matthew E. White opened, as he will for this entire tour. White, who arranged the horns on the new Mountain Goats album, Transcendental Youth, was a fantastic opener. He and his collective of eight fellow Richmond, Va. musicians are something of an indie reincarnation of The Band. The Dixieland jazz of “One of These Days” is the easiest to slap on comparisons, but most of his music meanders between innovative and classic.
The warm horn swells and bar-room piano often lead to the unexpected. The jangly keys of “Big Love” gave way to congas and heavy bass. After a percussion-heavy breakdown, White’s guitar, which sometimes takes a backseat to the other instruments, led a huge flairup. “Big Love” and “Brazos,” the closer of the set, were wild jams. White took a lot of risks on his debut record, Big Inner, and he’s continuing to push it farther on stage. He was the perfect opener, but White and his band are too talented to stay in the support slot for long.
When the Mountain Goats came onstage and began playing “Love Love Love,” the crowd softly echoed every word. The quiet opener was followed by the new upbeat “Harlem Roulette,” during which John Darnielle‘s guitar began cutting out. Once the problem was fixed, he exchanged a quick glance and shoulder shrug with bassist Peter Hughes and drummer Jon Wurster before jumping in again.
After “Heretic Pride” and “The First Few Desperate Hours” (which Darnielle claims was the closest he ever came to giving the fictional characters in his divorce fable Tallahassee a nice day), they took a request from the crowd and played “San Bernadino.” Darnielle ditched his guitar and sang over the bubbling bass line and drum brushes, before adding a few twinkling piano notes.
They played two more new songs, “Amy aka Spent Gladiator 1″ and “Until I Am Whole,” before Wurster left the stage. Darnielle and Hughes played “Dance Music,” in which the crowd let out a resounding cry of “I don’t wanna die alone!,” before Hughes left as well.
Darnielle played a handful of solo acoustic songs, including a cover of Wye Oak’s “Civilian.” He also did a rare rendition of “Sax Rohmer #1,” which he warned could easily turn into a disaster. He called it a “long-overdue request” for a fan in the audience who had donated money to hear it played at a benefit concert in North Carolina, but whose car broke down on the way. Darnielle claimed the lack of a clear narrative made the song easy to forget but he made it through with a little help from the audience.
Wurster came back to play “Ezekial 7 and the Permanent Efficacy of Grace,” before Hughes rejoined for “The Diaz Brothers.” The horn section from White’s band, dubbed by Darnielle “The Transcendental Trio,” came out to play three songs from the new album, “In Memory of Satan,” “White Cedar” and “Cry for Judas.” Hughes played a fretless bass which added a smooth, jazzy tone to the songs. They finished the set with “Up the Wolves” and “No Children.”
The band was rejoined by the horn players for “Transcendental Youth” and “This Year” in the first encore. The latter was almost overwhelmingly joyful, especially with the added horn arrangement. When called back for a second encore, they covered Nothing Painted Blue’s “Houseguest,” written by Darnielle’s friend and collaborator in the Extra Lens — Franklin Bruno.
But they saved the best for last. The final song of the evening was “The Best Ever Death Metal Band in Denton.” The crowd was fired up and let loose cries of “Hail Satan!” in step with Darnielle. The music was great, but when the audience is so involved, it becomes unforgettable.
Bon Iver recently did a four-night run at New York’s Radio City Music Hall. According to frontman Justin Vernon, the shows were the group’s last in America for a while.
On September 22, the final night, Poliça opened. Although loosely affiliated with Bon Iver (Ryan Olson and singer Channy Leaneagh were in Gayngs with Bon Iver’s Mike Noyce and Vernon. Noyce also appears on two tracks on their debut album), Poliça completely hold their own.
The entire live band, except Leaneagh, was a rhythm section — bassist Chris Bierden and drummers Ben Ivascu and Drew Christopherson (Olson acted as producer and does not perform with the group). They created the moody textures and rhythms to which Leaneagh supplied melodies. Similarly, Bierden, Ivascu and Christopherson all wore a gray-shirt-and-khaki uniform, while Leaneagh stuck out in a purple dress.
The cavernous Radio City Music Hall was awe-inspiring, but added a bit of a weird dynamic, especially for Poliça. Even though they played a great set, it was hard to engage a crowd in such a huge venue.
Bon Iver had no problem with it, though. Vernon and his massive band filled the stage and just as easily filled the room with their grandiose music. They spent the night intricately recreating the sounds of Bon Iver, Bon Iver and reworking a few songs from For Emma, Forever Ago.
Early in the set, songs like “Perth” and “Holocene” were painstakingly modeled after the album versions. While the recreations of staggering beauty were most welcome, the new arrangements were the most enticing. A new “Creature Fear” with a magnificent trombone solo and bass saxophone parts from Colin Stetson and an electrified “Blood Bank” were not only surprises, but highlights of the show.
The set culminated with an extended version of “Beth/Rest,” the oddball soft rocker that has grown into a fan favorite, followed by two of For Emma‘s most beautiful tracks, “The Wolves (Act I and II)” and “For Emma,” with it’s trademark horn section echoing gently through the room.
Bon Iver may be winding down for the time being, but when they hit the road again in the future, it’s more than likely they’ll be carrying a few new arrangements.
Posted in Concert Reviews, Music Reviews, Photos
Tagged Bon Iver, Channy Leaneagh, Colin Stetson, Gayngs, Justin Vernon, Mike Noyce, New York, Poliça, Radio City Music Hall
Bob Mould kicked off his American tour by playing Sugar‘s seminal album Copper Blue in its entirety. The show, originally scheduled for Webster Hall in Manhattan, was moved to Williamsburg Park in Brooklyn.
Cymbals Eat Guitars opened the free show with an early set. The crowd was kind of scattered around the venue, which is not so much a park as a giant slab of blue concrete. Singer/guitarist Joseph D’Agostino was plagued by guitar troubles, but that didn’t slow them down. The band screamed and sweat through songs like “And the Hazy Sea,” and their newer, less erratic songs recalled Mould’s transition away from the hardcore punk of the first few Hüsker Dü albums.
Even about 30 years after that transition, Mould is still a powerful force on stage. With bassist Jason Narducci and drummer Jon Wurster (Superchunk, the Mountain Goats), he roared through Sugar’s debut Copper Blue.
With amps and energies high, Mould and the band made it all the way through the album without stopping for air. After the album’s closer, ”Man on the Moon,” Mould paused to talk to the crowd. Williamsburg was a fitting start for the tour celebrating Copper Blue‘s twentieth anniversary, Mould explained, since he wrote the whole album a few blocks from the park.
The tour also supports Mould’s newest album, Silver Age. After the brief pause, they played three songs from that album, “Star Machine,” “The Descent” and “Round the City Square.” The songs, especially “The Descent,” sound heavily influenced by Sugar. After “Round the City Square,” they played a set of Hüsker Dü songs: “Hardly Getting Over It,” “Could You Be the One?,” “I Apologize” and “Chartered Tips,” before closing with another new song, “Keep Believing.”
When the band came back for an encore, they brought up Craig Finn from the Hold Steady. Finn, dragging his mic stand all over the stage, shouted the words of Hüsker Dü’s “Something I Learned Today.” After Finn left the stage, Mould, Narducci and Wurster did another classic “In a Free Land.” The crowd demanded a second encore, though, and the band came back to perform “Makes No Sense at All.”
A few weeks ago, I was walking around the town of South Plainfield, New Jersey, listening to Hospitality on my headphones. I had just left my upstate New York home to move to New York City, but I hadn’t quite made it yet. Songs like “Eight Avenue” and “Friends of Friends” are literal takes on the group’s Brooklyn lives, so Hospitality was the perfect soundtrack as I daydreamed about moving into the Brooklyn apartment we’d found (which we did move into that weekend). The colorful indie pop washed away the nerves about getting an apartment and making it somewhere new. So it’s only fitting that the night before we moved in to our new place, my girlfriend and I went to see Hospitality. They played a free show at Brooklyn Bowl on Friday, August 31.
It was surprisingly uncrowded, especially for a free show. When opening band ARMS came out, people eventually started to trickle away from the bar, but it still seemed like a small audience. Since Harlem Shakes fell apart in 2009, guitarist Todd Goldstein has turned ARMS from a solo side project to a full band. There are definitely shades of Harlem Shakes in his new music, but ARMS is still distinct.
Hospitality ended up on stage probably around 10. They played literally their entire self-titled album, plus a couple of new tracks — including the live debut of “Experience.” Their delightfully poppy songs like “Liberal Arts” and “All Day Today” are even better live than on record.
Amber Papini leads the band — both her vocals and guitar lines offset the rhythm created by bassist Brian Betancourt and drummer Nathan Michel. Papini’s diction can call to mind a more-Brooklyn version of Camera Obscura, and sometimes the music’s not far from it either. But more often than not, Hospitality just sound like themselves, and it sounds great.
Posted in Concert Reviews, Music Reviews
Tagged Amber Papini, ARMS, Brian Betancourt, Brooklyn Bowl, Hospitality, Nathan Michel, Todd Goldstein
Unlikely pop stars Mumford & Sons played in front of a large crowd Tuesday night at Constellation Brands-Marvin Sands Performing Arts Center. Photo Spencer Tulis/Finger Lakes Times
Mumford & Sons are unlikely pop stars. The four British musicians wielding traditional folk instruments like banjos and mandolins somehow managed to break into the American mainstream.
They attracted a huge crowd to CMAC on August 7 and entertained with an energized show.
Singer-songwriter Aaron Embry opened the triple-billed show with an acoustic set. Alone on the stage, the barefoot Embry plucked a four-string tenor guitar. His melodic picking recalled classic country, but his solemn harmonica was pure Neil Young.
After Embry, California rock band Dawes took the stage. The group looked straight from the ’70s – shaggy hair and button-up shirts tucked into their jeans – and sounded like it, too. Singer/guitarist Taylor Goldsmith lays on thick Jackson Browne hooks with Byrds-style guitar riffs that create a warm California sound popularized by the aforementioned bands. As they played their first few songs, “Time Spent in Los Angeles” and “Coming Back to a Man,” people flooded in, as if drawn to their music.
Goldsmith was the only guitarist in the four-piece band, but bassist Wylie Gelber and keyboard player Tay Strathairn round out the music, filling the gaps during guitar solos. He usually sang memorable, simple melodies, but Goldsmith often showed he could really belt out his songs, too. His brother Griffin, the group’s drummer, and Straithairn also threw their voices in on “Fire Away.” Each of the singers took a vocal solo before coming together in a three-part harmony.
Dawes played a new song from their upcoming third album, followed by the heartfelt “A Little Bit of Everything.” They closed with “When My Time Comes,” with help from Marcus Mumford on vocals and guitar.
Following a short break, Mumford returned to the stage with his bandmates, Ben Lovett, Winston Marshall and Ted Dwane. They began playing a new song, “Lover’s Eyes,” on a dark stage. Mumford softly strummed his acoustic guitar before both the music and lights erupted. As the stage lit up momentarily, so did the crowd, but even in the dark, “Lover’s Eyes” kept building – Mumford pounding the bass drum at his foot, and Marshall furiously picking his banjo.
When the song fell to a close, they went into one of their biggest hits, “Little Lion Man.” The group’s four members stood in a straight line across the stage, now permanently lit. Hanging lightbulbs, strung from the rafters, illuminated the arena.
Mumford & Sons played most of the songs from their debut album, Sigh No More, and a handful of new ones. While the earlier tracks were often boisterous stompers, the newer material finds them growing into their mainstream success.
Mumford sat behind a drum set to sing a few songs and Marshall exchanged his banjo for electric guitar, but the band hasn’t completely abandoned folk rock in favor of mid-tempo pop music. Their new single, “I Will Wait,” had the energy and pounding bass drum of songs from Sigh No More.
They invited Dawes back onstage for “Awake My Heart,” before closing with “Dust Bowl Dance.” Their encore included the horn-heavy “Winter Winds” and a new song, “Where Are You Now?,” but the obvious favorite was the finale, the massively successful single “The Cave.”
Mumford & Sons’ formula for a pop hit is a strange one. Folk instruments and harmonies don’t really make platinum records anymore, but they blew past expectations for mainstream success. It doesn’t necessarily make sense, but it sounds fantastic.
Originally published in the Finger Lakes Times
Wednesday, August 8, 2012
“Unlikely pop band goes mainstream”
Snoop Dogg, aka Snoop Lion, performed at Constellation Brands-Marvin Sands Performing Arts Center Thursday night. Here, he sings with two of his backup dancers nearby. Photo by Spencer Tulis/Finger Lakes Times
Is he Snoop Dogg or Snoop Lion?
The rapper, who is reportedly leaving hip-hop for reggae, came to CMAC on Thursday, but the answer is still unclear.
Though a Rastafarian-themed banner hung on stage, the only person besides Snoop himself to refer to him as Snoop Lion was opener Yelawolf.
The lawn slowly filled, but the shell remained glaringly empty for young rapper Yelawolf’s 40-minute performance. His stage banter was a bit awkward, and speaking to a mostly bare room couldn’t have helped, but when the music started he was an impressive force.
Yelawolf’s rapping is intense. He attacks each song with unbridled intensity, his raspy voice going from a sped-up, blurred verse to screams, sounding closer to punk rock than hip-hop. Only Yelawolf and a DJ occupied the stage; unfortunately, the music he rapped over was incredibly boring. Most of the beats felt generic and repetitive, which held him back.
The rapper paid tribute to the Beastie Boys, whose founding member MCA recently died of cancer. The nice sentiment turned weird, though, when instead of covering his heroes, he was simply singing and rapping over their songs. Ironically, the medley of “cover” songs drew the biggest reaction from the audience.
After Yelawolf finished, it was over an hour before the lights dimmed again. When they did, the crowd on the lawn tried to make their way to the legion of empty seats. Ushers and security initially stopped them, but as the music started, the floodgates were briefly opened. People ran by the ushers, some climbing over rows of empty seats, but security eventually regained control. Hundreds had forced their way down, but the upper half of the shell was still almost completely unoccupied.
The band – a guitarist, bassist, keyboard player, two drummers and a DJ – played through the first Snoop Lion single, “La La La,” before the rapper came onstage, but it was the only reggae song of the night. The concert really only covered his prolific hip-hop career, and the other rappers on stage continued to refer to him as Snoop Dogg.
Snoop performed his biggest hits, like “Gin and Juice,” “Who Am I (What’s My Name),” and “Drop It Like It’s Hot,” and a handful of songs on which he’s featured. Because he often only has a verse or two, songs like Dr. Dre’s “The Next Episode” and Katy Perry’s “California Gurls” were condensed and rebuilt around Snoop’s performance.
The crowd that broke free from the lawn ended up saving what would have been an awkward night. The show’s energy was completely built around the crowd – on their feet, hands in the air. The arena went wild when he did his most well known singles.
During his final song, “Young, Wild & Free,” the rapper did mention his new alias, calling himself “Snoop Dogg aka Snoop Lion,” but it seemed almost in passing.
Snoop’s rap career is too big to ignore, and if he does decide to tour exclusively with reggae, he’ll be playing much smaller venues than CMAC.
Even billed as a hip-hop legend, Snoop Dogg failed to come close to filling CMAC. Thankfully, some rambunctious lawn-dwellers saved it from being a disaster.
Originally published in Finger Lakes Times - August 3, 2012
Snoop Dogg stuck with rap at CMAC
Posted in Concert Reviews, Music Reviews
Tagged Canandaigua, CMAC, Finger Lakes Times, Hip-Hop, Snoop Dogg, Snoop Lion, Yelawolf
The rain can’t stop Wilco. Over its 18 years, the band has had three record labels, hosted 12 members and seen near-self-destruction a few times. But now that the once-volatile group has solidified with its most stable (unchanged since 2004) and arguably best lineup, a little rain was nothing.
It rained almost all day in Cooperstown, so when Wilco fans convened at Brewery Ommegang, just a few miles from the village, the sunny skies were welcome.
Lee Ranaldo Band made it through a dry opening set. The (former?) Sonic Youth guitarist and his touring band got some help from Wilco’s Nels Cline — who was a major contributor to Ranaldo’s last album, Between the Times and the Tides – and Pat Sansone.
Ranaldo’s solo material is much different from his Sonic Youth work. Songs like “Off the Wall” and “Xtina as I Knew Her” emphasized the melodic, but every now and then Ranaldo would crank up the distortion and wail. Most of the band’s 40-minute set featured one or both of the Wilco guests, and it was especially great watching Ranaldo and Cline, two legendary guitarists, feed off each other.
When Ranaldo finished, the clouds had rolled in. Wilco walked on stage in the rain, facing a sea of ponchos and umbrellas. But as they began playing “Dawned on Me,” it didn’t matter.
The first half of the set covered everything from the sugary pop of “Hummingbird” and “War on War” to the epic, swirling guitars of Cline, Sansone and Jeff Tweedy on “Impossible Germany” to the slower “Sunken Treasure.” The rain was somehow endearing, but “Either Way” still brought big cheers with its fitting lines “Maybe the sun will shine today, the clouds will roll away.”
Eventually they did, although it was too late for the sun. The second half of the set was even more electrifying than the first, featuring “Kamera” and “Handshake Drugs.” They also managed to fit in a few older ones like “What’s the World Got in Store” and “Box Full of Letters.”
The band was in top form, but when are they not? After the slow “Box Full of Letters,” they suddenly went wild. The set’s coda turned into a rapid-fire sing-a-long. “I’m Always in Love” gave way to the opening drum machine of “Heavy Metal Drummer,” which brought massive cheers. “Drummer” was followed by the unmistakable opening notes of “I’m the Man Who Loves You,” and then they piled on one more: “A Shot in the Arm.”
It was nonstop, and when it seemed like it couldn’t possibly be topped, Wilco came back for two encores.
“Poor Places” started the first. The ending cacophony was carefully reeled in and transitioned perfectly to “The Art of Almost.” Again, the slow build gave way to an eruption of intensity. As the ending notes rang out, there was only a moment of respite before the forceful beginning of “Standing O.”
The second encore gave a bit more of a breather, starting with the unreleased Woody Guthrie song “Airline to Heaven” and “Hate It Here.” But “Can’t Stand It,” despite its mid-tempo speed, was a fist-pumping anthem. They finished with a euphoric three-song suite from Being There: “Red-Eyed and Blue,” “I Got You (At the End of the Century)” and “Outtasite (Outta Mind).”
When they’re on stage, nothing can stop Wilco.
Download the show, courtesy of nyctaper, and see more photos after the jump.
Wilco: July 28, 2012 Brewery Ommegang
Lee Ranaldo: July 28, 2012 Brewery Ommegang
Posted in Concert Reviews, Music Reviews
Tagged Brewery Ommegang, Cooperstown, Download, Jeff Tweedy, Lee Ranaldo, Lee Ranaldo Band, Nels Cline, nyctaper, Pat Sansone, Wilco
Feist wrapped up the bulk of her touring behind her terrific fourth album, Metals, with a stop in Buffalo. She headlined one of the Buffalo Place Rocks the Harbor events held at the Erie Canal Harbor, sandwiched between the canal and the city.
Local opener Roger Bryan and the Orphans started playing in the late afternoon sun, and by the time support act Snowblink — Canadian singer/guitarist Daniela Gesundheit backed by guitarist Dan Goldman — finished, dusk had settled over the harbor. The duo played a handful of originals and a haunting cover of Bruce Springsteen’s “State Trooper.” Gesundheit was soft-spoken and quiet but was propelled by an incredible voice — not unlike her friend Leslie Feist.
But while Feist’s performances may once have been quiet perfection, only one of those words would describe her now. The singer-songwriter, backed by a six-piece band that included Broken Social Scene’s Charles Spearin and the three singers of Mountain Man, is a red-blooded performer. With a fervent intensity, they kicked off the set with “A Commotion” — a song heavy enough to be covered by the metal band Mastodon.
Behind her, the stage was lit up by a sea of psychedelic projections and deliberately lo-fi video feeds from cameras attached to mic stands and hanging from the trusses.
Most of the songs were from Metals, definitely her most forceful record. Feist and her band played the single “How Come You Never Go There” (with excellent three-part harmonies from Mountain Man) and thundered through “The Bad in Each Other.”
She did slow it down a bit with songs like “Comfort Me” and “The Circle Married the Line,” but she rearranged most of her slower songs for a stronger live performance. “I Feel It All” and “My Moon My Man” were sped up and distorted, and “Mushaboom” was almost completely transformed. Even the encore of “Sea Lion Woman” — one of the most upbeat songs on 2007′s The Reminder – was very different.
Surprisingly (or not, if you’ve paid attention to recent setlists and show reviews), “1,2,3,4″ failed to make an appearance. Though it’s her biggest single, it really wouldn’t have fit in the set. Feist was both somber and energetic, but nothing short of sincere. The silly sing-a-long would have completely undone the set’s complex intensity. And though its absence was noted, no one seemed to mind.
See some more photos from the show after the jump. Continue reading
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