Just do it again, and this time with feeling.

(May 27th, 2009 Pittsburgh, PA - Club Diesel)

Anybody who reads this stuff may or may not remember my absolutely raving review of Good Old War's live show back in March with the Gaslight Anthem. Since then I've been watching their every move, waiting for the return to Pittsburgh, and when their dates with Straylight Run were announced, there we were, at Club Diesel on a Wednesday night. If you know me, you know it's hard for me to get to shows on weeknights, and also that I hate Club Diesel (this is the first show I've been to there this year, but last year I went to three or four). The venue's stage is too high (nipple height on me, and I'm relatively tall), too small, too drunk (the bar upstairs is always open), and they always kick the headliners out to turn into a dance club. The lights and the sound are great, but it's not enough for me to call it a good venue anymore. Still, I silently vowed not to miss Good Old War whenever they come through, and Straylight is a band I've wanted to see for quite a while. So I obliged to Ticketmaster's outrageous surcharges and as congested as I felt, I found myself at Diesel on a warm Wednesday night.

I expected Good Old War to play first, but they didn't. Instead there was a local opener, something I'm always leery of, and usually don't even mention on my posts, but I had to for these guys. Recession are a band from Pittsburgh who play an enveloping style of music reminiscent of Copeland's use of keyboards combined with Circa Survive's energetic drumming and (usually) dueling guitars. Joe, the band's lead vocalist, has a considerably unique and refreshing voice. I'm anticipating, and hoping, that this band starts showing up a lot more in Pittsburgh's local scene, and possibly even further, because they've got what it takes to impress a lot of people.

Good Old War, the reason I, along with a surprising handful of people, were even at the show that night, were next, and I couldn't have been more excited. Of course, I wasn't let down, which wasn't a surprise either. I can't say enough about their live show. It's one of the more enjoyable things I've ever experienced. If you put me on the spot, I'd even go as far as to say it's uplifting. Good Old War really know what they're doing, know what they want to do, and know how to show it. Anyone who wasn't familiar with them before their set was surely impressed. Everything I said about them in my last review, multiply it by ten. They were significantly better, likely from their incessant touring. The set list was almost exactly the same, but already I felt like I'd gotten my money's worth. I can't say it enough, DO NOT miss Good Old War if they're ever anywhere within an hour's drive of you. I know I certainly won't. The only complaint I have is they still haven't played a song in the crowd, à la the Arcade Fire, in Pittsburgh, but I made Keith promise me that they would next time they come through. I can't stress how good their live show is, even if you don't care for their recorded output. It's such a good time, for thirty minutes you forget everything, be it the final you have to pass in 48 hours, the girl that screwed you over as little as a week ago, or the money you don't have that you want to spend on a t-shirt. If I could, I'd drive 45 minutes every single night to see Good Old War.

set list:
Just Another Day
No Time
Window
Tell Me
I'm Not For You
Weak Man
Looking For Shelter
Coney Island

Following Good Old War was Lovedrug, a band I've never particularly cared for on record, and while I'd love to be generous, their live show did nothing to change my mind. It was clear to me that their singer did not want to be there. The rest of the band seemed generally content, but his attitude was just not good as soon as they took the stage, and though they sounded alright, I don't think he wanted any part of it. Personally I wanted it to be over.

Once Lovedrug left the stage, I think many were relived, and willing to wait a little for Straylight Run. However, set up was rather brief, as their gear was very sparse. As dense as Straylight sounds on record, they play a very no-frills live set. Still, nothing's lost as far as emotion goes. John Nolan, the band's lead vocalist, guitarist, and pianist, was having such a great time, it rubbed off on the whole crowd. People were actually dancing just a few songs into the set. Will Noon and Shaun Cooper, the band's respective drummer and bassist, are so fluent on their instruments it's hard to not watch them, until you take note of how much fun John's having. They aren't the best sounding live band I've ever heard, but I'm certainly glad I went. It's good to know that after six years, one of the bands from Long Island's amazing scene of the early millenium still enjoys what they're doing. The set felt relatively short for a headliner, but it was very mixed, with material from as early as the original free online EP to the brand new About Time EP, with everything in between represented. The highlight of the set, for me, was John playing three songs solo acoustic. But there wasn't a song that I didn't enjoy hearing. Michelle DaRosa, Straylight Run's former vocalist, pianist, and guitarist, who left last June, was definitely missed, but there was no hole to be filled. The band sounded perfectly fine without her. Also, I was surprised that "Existentialism on Prom Night" was played in the middle of the set, and quite spiritedly at that. That says something about the band - even after all these years, they don't mind, and don't feel obligated to play what was arguably their biggest hit, and the reason many of the people in the chilly club even knew who they were. All in all, while I wouldn't say that Straylight's one of the best band's I've ever seen or anything, they're definitely worth seeing. I'm certainly glad I went.

set list:
For the Best
Wait and Watch
Soon We'll Be Living in the Future
Mistakes We Knew We Were Making
Don't Count Me Out
A Slow Descent
Your Name Here (Sunrise Highway)*
Buttoned Down*
Mile After Mile*
Existentialism On Prom Night
Sympathy For the Martyr
Try
I'm Through With the Past
Hands In the Sky (Bit Shot)

* John Nolan solo acoustic

Update.

So sorry it's been so long. School's too busy. I'm almost done though, hopefully I'll be able to get a lot done. Expect my next review to be of Manchester Orchestra's Mean Everything to Nothing. A lot of upcoming shows, but the two definites are Straylight Run and Kevin Devine within the next two weeks. Reviews of both will be up shortly afterwards.

I felt the Lord begin to peel off all my skin.

(May 2nd, 2009 Millvale, PA - Mr. Small's)

When it comes to writing reviews, there’s always a bias. In fact, as far as I’m concerned, all a review is is me trying to convince you to feel the same way I do. So I’ll come right out and say it; Manchester Orchestra is my favorite band right now, and their live show is one of the strongest I’ve ever seen. As soon as these dates were released I knew I was going. I didn’t care what day, what venue, what price, none of it mattered. If Manchester Orchestra’s in Pittsburgh, I’ll be there. (If you didn’t get the message already, I was excited for this.)

Manchester Orchestra always seems to tour with amazing bands. Whether it be opening for Brand New or Say Anything, or bringing Kevin Devine along with them, or introducing me to a band on the rise like All Get Out, they have a way of always finding the best tour mates. This run of dates is no exception. The first band to play was Winston Audio, a band on Manchester’s own Favorite Gentlemen Records. I had heard their newest album, The Red Rhythm, a few months ago. I found it enjoyable, but I wasn’t particularly enveloped in it at any given moment. It’s a solid first full-length, but it’s not mind-blowing or anything. Their live set, however, is another story. They play their music with so much passion and energy, and it isn’t particularly energetic music either, so this is quite an accomplishment. The entire venue was absolutely filled with sound. If you enjoy good, straightforward rock and roll, go see Winston Audio if they’re near you.

Following up Winston was Audrye Sessions. Set up was generally very minimal - throughout the night, all four bands actually shared the same drum kit - but Audrye still had plenty of gear, including a xylophone, a washboard, and a floor tom, placed almost directly in front of me. My curiosity was sparked, and just as quickly met with a strange but satisfying sound. Audrye Sessions’ live show is nothing short of astounding. Every live review I do, I almost always recommend you go see the bands I mention, but this is the first band I’ve seen that I would absolutely recommend going to see, even if you don’t enjoy their album, or even their style of music. I was absolutely blown away. In fact, I expect to see anyone who reads this blog at their show in Pittsburgh in July. Take my word for it, it's that good. I know I’ll be there. Their set was nothing short of amazing, start to finish.

fun. was next to take the stage, and I was very excited, even though I’d only heard one song (the only they’ve released, which is FANTASTIC and on their Myspace page) and I was never a big fan of The Format. I felt a little hesitant when I realized just how many people were there to see them, even though they’d never played Pittsburgh and, again, have only released ONE song. The crowd felt, well, to be honest, undeserved. And frankly, I was very underwhelmed by much of the live set. Also, fun.’s frontman, Nate Ruess, seemed either really bored with the crowd, or a little drunk during the first four or five songs. I can’t say I enjoyed the set very much at all until after they played the two songs by The Format. After that, Nate and co. seemed much more comfortable on stage. Before “At Least I’m Not As Sad,” while Nate was trying to teach the crowd the lyrics to the chorus, the band’s pianist was attempting to sing the part a capella, and Nate mockingly made a Lion King reference, which lead to Elton John jokes, which lead to a bit of “Rocket Man.” It was clear at this point that fun. really was, well, fun. “At Least I’m Not As Sad” featured several members of Audrye Sessions and Manchester Orchestra, including Andy Hull singing the bridge. The set concluded with "Take Your Time," and I felt at least a little better about fun. In their element, they’re fine, but they did not fit on this bill at all. Still, it was a somewhat refreshing change of pace.

set list:
Benson Hedges
All the Pretty Girls on a Saturday Night
I Wanna Be the One
Snails (the Format)
The First Single (the Format)
Walking the Dog
digression into Elton John's "Rocket Man"
At Least I'm Not As Sad (As I Used to Be)
Take Your Time

I don’t remember how long it took Manchester Orchestra to set up, but it seemed like a good chunk of time. Still, if you know me, or my last.fm page, you know that I feel it was worth the wait. Manchester is one of my favorite bands ever. I’m Like a Virgin Losing a Child is one of my favorite albums. Even with incredibly high expectations, Mean Everything to Nothing did not disappoint in the slightest. What I’m trying to say is, unless you want to hear me outright praising this band, skip to the set list. Within the first two songs, I knew this show was going to be significantly better than the last time they came through Pittsburgh (my review here). Maybe it was just because I knew the songs, or maybe it was because they’ve played them more. But regardless, it was sure to be even better. “I’ve Got Friends,” a song which I didn’t even mildly enjoy until I heard it in the context of the album, was an absolute standout from the set. A few songs later, “Now That You’re Home” felt a little rushed, and “Sleeper 1972” lost a lot of it’s touch being thrown into the middle of the show, as opposed to as an encore. “Golden Ticket,” the only song played from Virgin that they didn’t play last time, was phenomenal, another standout for sure. “The Bathroom is a Creepy Place” was a comedic cover thrown in for good measure. The rest of the set was very emotionally charged. “Everything to Nothing,” one of my lesser favored songs from the new album, was significantly better live, and since then I appreciate it much more on the album. “Where Have You Been?” was closed with, as expected, and was much more energetic than last December for whatever reason. Members of fun. and Audrye Sessions participated in the 10+ minute ordeal, and many of us were left with sore throats. Honestly, the encore was completely unnecessary, a rare accomplishment for a headlining band, but still a nice addition to an outstanding set. The band was much more emotional and energetic than on the last headlining tour, the new songs were much tighter, but the old songs were clearly favored by the crowd. My only complaint is I would’ve liked to hear more.

set list:
Pride
Shake It Out
I've Got Friends
Me and Julio Down By the Schoolyard (Paul Simon cover) (Andy solo)
In My Teeth
Now That You're Home
Sleeper 1972 (Andy solo)
Wolves at Night
Golden Ticket
The Bathroom Is a Creepy Place (twothirtyeight cover) (Andy solo)
I Can Barely Breathe
My Friend Marcus
Everything to Nothing
Where Have You Been?

encore:
Holland, 1945 (Neutral Milk Hotel cover) (Andy solo, with vocals from Chris and Robert)


After the show, we hung out around the back of the venue with pretty much all four bands. I talked to Chris Freeman from Manchester Orchestra for about a half an hour about movies, touring, gingivitis, Underoath, and all kinds of other fun stuff. Ryan from Audrye Sessions is also a very cool dude with a very, very cool cape. Andy Hull was a bit drunk, and it made me kind of sad, but he still talked for a minute, which was still much appreciated. All in all, I had a great time.

Initial Thoughts: The Chariot - Wars and Rumors of Wars

This is the best heavy album of 2009 so far. So much aggression, packed into such a short amount of time. It's REALLY short. It's good though.