(December 12, 2009 Pittsburgh, PA - The Smiling Moose Upstairs)
There are only a few bands that I've seen more than once this year, and I feel fortunate to call Good Old War one of those bands. The best part of that is they are the only band I've seen three times, and had I the chance to see them a fourth or even a fifth, I can guarantee that I would have. Unfortunately, each time I've seen them, I've gone alone (unless you count my dad, which I don't because he stays seated in the back of the venue, while I make my way into the crowd). Next time they're in Pittsburgh though, you can bet I'll have a minivan full of people. If anyone's earned a good crowd, it's Good Old War.
It's an almost fictional occurrence for me to miss a set, but I missed Chalk Dinosaur altogether, and to them I send my apologies. I walked into the venue only to find Harrison Wargo playing Beatles covers in minor keys. Just kidding about the last five words in that last sentence. What I meant was, I walked into the Smiling Moose's upstairs to find a packed house listening to Harrison Wargo and his band playing catchy pop songs that anyone can appreciate, but with just a hint of melancholy. I missed some of his set, but I loved what I heard quite a bit. Be on the lookout for a full length from him early next year.
Following Harrison Wargo came Hezekiah Jones, who upon researching led me to expect hundreds of people on stage (see their band members section on Myspace), but ended up only two guys, vocal harmonies, and two guitars - a quietly strummed acoustic and sparse atmospheric electric. I was immediately reminded of acts like Bon Iver, playing brooding songs about heartbreak and satisfying flannel-wearing college kids everywhere, but after the song they played about the end of the world, I figured out that maybe Hezekiah Jones was a little less than that, in a good way. Still, I felt like their set lacked something. They said they were missing a few members for the performance, and I think it held them back somewhat.
Dave Davison of Maps & Atlases fame, AKA Cast Spells, was up to perform next, and being unfamiliar with Bright Works & Baton, his first release, and only having the prior knowledge that Cast Spells is a solo project, I expected one guy playing guitar and singing, and I expected to be bored. What I was greeted with was much more. Keith, Dan, and Tim of Good Old War joined him on stage, and played through (as far as I remember) all of the Bright Works & Baton EP and one of the two songs featured on the Cast Spells/Good Old War split EP ("All Brass"). I was beyond impressed. The songs were fun, upbeat, catchy, and all-around enjoyable. After the show, the girl that was selling Dave's merchandise gave my dad a CD because my dad had helped her film Hezekiah Jones' set. While the free CD might have been undeserved, we listened to it the whole drive home, and it's every bit as fantastic as the live set was.
Being that there was no set up to be had, Keith, Dan, and Tim took a quick break and then hopped right back on stage as Good Old War, and jumped right into their set. Banter was frequent, which would have been annoying if the band a. wasn't hilarious, and b. didn't play a lot. The thing is, they are hysterical, and they played "longer than [they] have ever played." Good Old War is really just three best friends playing music together that anyone can enjoy. The whole show felt like how church should feel, because everyone was gathered together, singing along, and left better off than they came. After already having seen the band twice (reviews here and here), it's clear to me that they're a top notch live act, definitely in the category "Better live than on record," so I don't really know what to add to my previous two reviews. I definitely won't even be missing Good Old War if they're anywhere near me.
set list:
Tell Me
Window
Just Another Day
We've Come A Long Way
Looking For Shelter
Get Some (new song)
I'm Not For You
No Time
Texas Blues
Breaking Down
Maybe Mine
Weak Man
Coney Island
Showing posts with label good old war. Show all posts
Showing posts with label good old war. Show all posts
December 12, 2009
May 27, 2009
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
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
March 29, 2009
Still, we sing with our heroes.
(March 29th, 2009 Millvale, PA - Mr. Small's)
When 2008 ended, I posted all of my different end-of-the-year lists, and was, for the most part, on the same page as most of my colleagues. I did manage to miss out on one album – The Gaslight Anthem’s The ’59 Sound – and boy did I miss out. When I post my revised lists (which will be coming at the end of June), it’s sure to be very close to the top of the Best Albums of 2008. Anyway, when I did finally come around to listening to this album, it wasn’t long before it was in regular rotation on my iPod. They managed to work their way into the top four most-listened to artists on my last.fm page in less than a month. This was after I had decided that I wouldn’t be going to see them on March 29th. Since then, my mind changed.
It helped that they were bringing one of my favorite bands from last year, Good Old War, to town with them. Consisting of two former members of Days Away (the second band I ever saw live) and one from Unlikely Cowboy, Good Old War play a very listener friendly brand of folk rock reminiscent of Simon and Garfunkel, but can hold their own on stage with flamboyant frontman Anthony Green of Circa Survive. As soon as their set started, I could tell they were going to be spot on musically. The vocal harmonies of the first four songs were flawless, the musicianship was indisputable (particularly Dan Shwartz’s guitar playing), but the eye-catching aspect of their set was the palpable fun they were having. Already being very familiar with their music, I expected to enjoy their set more than most of the crowd, but was pleasantly surprised to find everyone in the room paying very close attention, and applauding enthusiastically after each song. Clearly, many were impressed. The stand out from the set was a new song called “My Own Sinking Ship” (I asked Dan the title after the show), I literally caught myself laughing at the lyrics’ relevance in my personal life. It also featured Timmy Armstrong playing accordion, rather than his usual drumming. Saw Creek EP, to be released later this year, is sure to be a handsome addition to the bands small catalog. The songs that followed were just as enjoyable; the band seemed even more comfortable than they were when the set started.
set list:
Window
Weak Man
Just Another Day
I’m Not For You
Tell Me
My Own Sinking Ship (new song)
Coney Island
Looking For Shelter
Following Good Old War, a band called Heartless Bastards was on. Prior to the show, I knew nothing of them. I didn’t know what they looked like, sounded like, anything. I was 100% in the dark. When they took the stage, I was a bit surprised. The frontwoman reminds me of my own mother, only a tiny bit cooler (she can sing and play guitar, my mom can’t even drive). At the beginning of their set, I was enjoying it, but only enough to keep me from talking. I had my phone out, was only semi-paying attention, just kind of there. About halfway into the set though, they played a song called “The Mountain” that featured their bassist playing pedal steel guitar and their lead guitarist playing bass. It takes a lot for a song to get me really into it, to move me. That song did. After that the set really picked up and I was hooked. I could feel the intensity, and my sentiments were echoed by most of the audience.
And now, the reason we were all gathered in an old church on a Sunday night: The Gaslight Anthem. Set up was relatively quick, thanks to Gaslight’s hard working tech. They came out and jumped right into the set with “Great Expectations,” and I could tell it was going to be a good night. They blasted through several songs on The ’59 Sound before mixing a few of the standouts from Sink or Swim into the set. All of ’59 was played, save for “The Patient Ferris Wheel,” coincidentally one of my favorites on the album. Still, the set lacked nothing. Frontman Brian Fallon was clearly enveloped into his music, and everyone appreciated it. He meant every note he played, every word he sang, and sounded great in the process. All in all, while my mind wasn’t blown or anything, I was definitely stirred by the set. If you get the chance, and you’re a fan, take the time to go see the Gaslight Anthem. On that note, if you haven’t already, give The ’59 Sound a listen.
set list:
Great Expectations
High Lonesome
Old White Lincoln
Even Cowgirls Get the Blues
Casanova, Baby!
The ’59 Sound
We Came To Dance
Wooderson
Film Noir
Miles Davis & the Cool
1930
Boomboxes and Dictionaries
Meet Me By the River’s Edge
Here’s At Looking at You, Kid
The Backseat
encore:
Blue Jeans & White T-Shirts
Stand By Me/I’da Called You Woody, Joe
Angry Johnny and the Radio
When 2008 ended, I posted all of my different end-of-the-year lists, and was, for the most part, on the same page as most of my colleagues. I did manage to miss out on one album – The Gaslight Anthem’s The ’59 Sound – and boy did I miss out. When I post my revised lists (which will be coming at the end of June), it’s sure to be very close to the top of the Best Albums of 2008. Anyway, when I did finally come around to listening to this album, it wasn’t long before it was in regular rotation on my iPod. They managed to work their way into the top four most-listened to artists on my last.fm page in less than a month. This was after I had decided that I wouldn’t be going to see them on March 29th. Since then, my mind changed.
It helped that they were bringing one of my favorite bands from last year, Good Old War, to town with them. Consisting of two former members of Days Away (the second band I ever saw live) and one from Unlikely Cowboy, Good Old War play a very listener friendly brand of folk rock reminiscent of Simon and Garfunkel, but can hold their own on stage with flamboyant frontman Anthony Green of Circa Survive. As soon as their set started, I could tell they were going to be spot on musically. The vocal harmonies of the first four songs were flawless, the musicianship was indisputable (particularly Dan Shwartz’s guitar playing), but the eye-catching aspect of their set was the palpable fun they were having. Already being very familiar with their music, I expected to enjoy their set more than most of the crowd, but was pleasantly surprised to find everyone in the room paying very close attention, and applauding enthusiastically after each song. Clearly, many were impressed. The stand out from the set was a new song called “My Own Sinking Ship” (I asked Dan the title after the show), I literally caught myself laughing at the lyrics’ relevance in my personal life. It also featured Timmy Armstrong playing accordion, rather than his usual drumming. Saw Creek EP, to be released later this year, is sure to be a handsome addition to the bands small catalog. The songs that followed were just as enjoyable; the band seemed even more comfortable than they were when the set started.
set list:
Window
Weak Man
Just Another Day
I’m Not For You
Tell Me
My Own Sinking Ship (new song)
Coney Island
Looking For Shelter
Following Good Old War, a band called Heartless Bastards was on. Prior to the show, I knew nothing of them. I didn’t know what they looked like, sounded like, anything. I was 100% in the dark. When they took the stage, I was a bit surprised. The frontwoman reminds me of my own mother, only a tiny bit cooler (she can sing and play guitar, my mom can’t even drive). At the beginning of their set, I was enjoying it, but only enough to keep me from talking. I had my phone out, was only semi-paying attention, just kind of there. About halfway into the set though, they played a song called “The Mountain” that featured their bassist playing pedal steel guitar and their lead guitarist playing bass. It takes a lot for a song to get me really into it, to move me. That song did. After that the set really picked up and I was hooked. I could feel the intensity, and my sentiments were echoed by most of the audience.
And now, the reason we were all gathered in an old church on a Sunday night: The Gaslight Anthem. Set up was relatively quick, thanks to Gaslight’s hard working tech. They came out and jumped right into the set with “Great Expectations,” and I could tell it was going to be a good night. They blasted through several songs on The ’59 Sound before mixing a few of the standouts from Sink or Swim into the set. All of ’59 was played, save for “The Patient Ferris Wheel,” coincidentally one of my favorites on the album. Still, the set lacked nothing. Frontman Brian Fallon was clearly enveloped into his music, and everyone appreciated it. He meant every note he played, every word he sang, and sounded great in the process. All in all, while my mind wasn’t blown or anything, I was definitely stirred by the set. If you get the chance, and you’re a fan, take the time to go see the Gaslight Anthem. On that note, if you haven’t already, give The ’59 Sound a listen.
set list:
Great Expectations
High Lonesome
Old White Lincoln
Even Cowgirls Get the Blues
Casanova, Baby!
The ’59 Sound
We Came To Dance
Wooderson
Film Noir
Miles Davis & the Cool
1930
Boomboxes and Dictionaries
Meet Me By the River’s Edge
Here’s At Looking at You, Kid
The Backseat
encore:
Blue Jeans & White T-Shirts
Stand By Me/I’da Called You Woody, Joe
Angry Johnny and the Radio