SHOW OF THE MONTH

Three Day Threshold (CD Release) /
Tin Can Tele / Girls Guns & Glory /
Sam Reid & The Riot Act / The Hansen Sisters
Cambridge Elks Lodge
Cambridge, MA
June 23, 2007

In conversations and writings about the Boston music scene, you’ll often come across the phrases “arms-crossed Boston hipster” or “jaded scenester” — or something of the sort. While the existence of this ignominious breed of young adult is debatable, there’s no denying the general feeling that shows in Boston are generally of a more uptight nature than the music culture in, say, the South. None of these fabled hipsters were present at Three Day Threshold’s Honky-Tonk Jamboree and CD Release Party on June 23, however. Amidst crumpled cans of Bud, Redbones catering, a giant mechanical bull ride, five knee-slapping Americana bands and a burlesque troupe including fan dancers, sword swallowers, jugglers, and strippers, the Cambridge Elks Lodge felt as though it had been lifted out of Cambridge and dropped many miles below the Mason Dixon line. Consequently, the night encompassed one of the most genuinely entertaining shows that this reviewer had seen in a long time.

Auxiliary entertainment aside, the night was assembled in honor of Three Day Threshold’s release party for 2007’s excellent Against The Grain, and it became clear that Kier Byrnes’ country-punk ensemble has amassed a very large and devoted following over the course of its nearly 10 year history.

While the five bands playing were the main focus of the evening, it was difficult to ignore the immense mechanical bull ride at the center of the room, its inflated arena occupying at least half of the floor space.

The Hansen Sisters opened the festivities with a pleasing blend of country and rock. Sam Reid & The Riot Act followed suit with their traditional bluegrass sound and tight performance while longtime friends of the Threshold, Girls Guns & Glory, set the room ablaze with their twangy, country-rock sound. Tin Can Tele were an absolutely perfect addition to the bill, playing their eclectic mix of folk, rock, and reggae with veteran musicianship and inventive melodies. Their coordinated outfits were a nice touch, too.
By the time Three Day Threshold took the stage, the room was tightly packed with fans and friends. When the band launched into their set, they immediately owned the room, harnessing the sweaty, drunken energy of the audience into an explosive performance.

The relationship between audience and band never seemed tighter or more intimate, with Byrnes leading the crowd in sing-alongs, taking song requests and most importantly, exhibiting a really genuine sense of humility. During “A Toast To My Father,” the entire audience held up their drinks until Byrnes gave the command to drink. And drink they did. While the band’s set drew largely from the new record, including songs like “Uni” and “Chicken Shack,” much of the audience already knew the lyrics — all of the lyrics (and there are a lot of them from song to song).

One highlight was a near perfect cover of “Honky Tonk Blues” by The Rolling Stones. There was a certain electricity in the air as the band played on, drunken audience members jumping on and off the spinning mechanic bull, some wrestling each other in the inflatable arena. At one point, one of the many beach balls being tossed around by the audience collided with the light bulb hanging from the ceiling, dimming the room considerably and causing the band’s shadows to stretch vastly over the audience — all the while, the band pounding through song after song of punked-out bluegrass tunes. It was a chaotic time, but one got the sense that Three Day Threshold had complete control over all of it.

-Review by Adam Arrigo; photos by Ashley Willard

The Texas Governor (Final Show) /
Tiger Saw / Christians and Lions /
The Loneliest Pomegranate

T.T. The Bear’s
Cambridge, MA
June 20, 2007

Manray in Central Square has been long since turned into high-priced condominiums, but Mel Lederman of The Loneliest Pomegranate attempted to resurrect the dark-hued laments of yesteryear nearby at T.T. The Bear’s. Augmented by some intricate work on the fiddle, mid-level minor piano chords accompanied The Loneliest Pomegranate’s ominous vocals. The up-tempo drums did not quite fit the deconstructed sounds of the piano and vocals, but the entire band came together for brief excursions. At one point, they even played a song in a major key, which, while standing out like a sore thumb, still retained the same Loneliest Pomegranate flavor that had been established over the first part of the set.

At first, Christians and Lions seemed like they were going to follow suit with the musical funeral march, but things quickly turned more upbeat when the seven-person collective turned on the jets and lapsed into a Turtles-esque sing-along of “bah-dah-dah-dah.” The group moved in unison, injecting some juice into the room. Oddly enough, the entire collective rarely played together, opting instead to focus on specific instrumental parts while leaving some of the musicians in the wings. If the first set’s nonstandard lead instrument was the fiddle, then the second set’s star was the blaring trumpet, which soared above and beyond the other instruments in the band, save the late flute solo.

Tiger Saw added to the eclectic vibe of the evening with their cohesive sound and great onstage presence. Focused on accentuating the rhythm section, Tigersaw infused the beat with funk, layering dry vocals over the juicy tempo. Full of energy, each member of the band appeared to be on an adrenaline high.

After a lengthy set change, The Texas Governor finally took the stage for their well advertised “last show ever.” While they took great care informing the entire area that this was their last show, they didn’t appear to put much effort into their stage presence. Lead vocalist/bassist Dave Goolkasian channeled Sting while looking like Noel Gallagher with his mussed hair and large sunglasses, which, of course, came down over his eyes during a particularly rock-y measure. Keyboardist Michael “Sparky” Phillips tried to up the energy with the one-foot/two-foot bounce perfected by Nicole Boudreau of Baker, yet fell short, due to the fact that Boudreau is a much cuter bouncer than any guy who insists on calling himself “Sparky.”

Overall, The Texas Governor delivered with flamboyant guitar-rock as big as the state of Texas itself, and the fans really enjoyed the set, dancing wildly before returning to New Hampshire where, presumably, the remains of The Texas Governor will someday rise again. For now, the group fades from the Wednesday evening time slot, only to live on through MySpace and the memories of their fans.

-Review by C.D. Di Guardia; photo by Marianne Bolduc

Kevin Devine / The Everyday Visuals / Brendan Little / Ryan Lee Crosby
T.T. The Bear’s
Cambridge, MA
June 9, 2007

Although the opening act at T.T. The Bear’s is not usually expected to draw a large crowd, a good-sized audience gathered for Ryan Lee Crosby’s set. Crosby always seems to attract a sizeable portion of both listeners and musical peers to each set, and tonight was no exception as a large group of people formed the customary semi-circle around the lanky performer.

Seated in the middle of the stage, guitar on his knee and harmonica never too far away, Crosby worked over the crowd with a set of original songs peppered with a few covers. His voice sometimes a soft whisper and sometimes a keening wail, some of the covers were odd choices, particularly his adaptation of Nico’s “These Days.” The high-voiced performer played around with Nico’s throaty delivery and made a few switches between octaves that didn’t quite work, even though he performed the song ardently. Crosby was at his best playing his own songs: plaintive tales expressing his woe over ... something.

Next up was Brendan Little, accompanied by his small ensemble. After the excessively colorful personality that is Ryan Lee Crosby, Little’s set came across as slightly bland. The songs were consistent in ways both good and bad: the entire set was marked by a lack of dynamics — beginning and ending with little fanfare. The result was a set full of songs virtually indistinguishable from each other — the lack of definitive beginnings and endings turned the set into what was virtually just one long song.

New York-based Kevin Devine headlined the evening, preceded by The Everyday Visuals’ well-received third set. Christopher Pappas rotated between the keyboard setup located at the right of the stage and the guitar at center stage. Pappas excelled with his vocal performance, never shying away from a melody and never missing a note.

The soft tones of his voice coursed with power as the band played songs off 2004’s celebrated Media Crush, as well as their new release, Things Will Look Up. Aside from Pappas’ inspired performance, the highlight of the set was drummer Joe Seiders, who really powers the band’s engine. Seiders is not just the band’s “drummer;” he is a bona fide live performer in an area where it is tough to have dynamic stage presence. Overall, The Everyday Visuals pleased the entire room, especially young females captivated by the photogenic quintet.

-Review by C.D. Di Guardia; photo by Marianne Bolduc

Aberdeen City / Bon Savants /
Hooray For Earth / Boy In Static
The Paradise Lounge
Boston, MA
June 8, 2007

Some of Boston’s heavy hitters and rising stars in the indie realm zapped new life into that old saying “charity begins at home” by playing a benefit show at The Paradise for Children’s Hospital. Each of the bands on the bill recorded covers of songs by other Boston-based artists for a CD that was sold exclusively for the show.

Boy In Static, who recently released his new record, Violet, got the night going with material that sustained hypnotic, Sigur Ros-ish rhythms and dreamy melodies. Alexander Chen and his five-piece band played with a warm, yet dynamic, intensity as people drifted into the club.

The wide range of Chen’s musicianship was impressive. He constantly changed instruments mid-song while maintaining musical fluidity. Chen told Performer that he played “over 15 instruments on the last album.” But admitted “lots of them are a bit strange, like wine glasses and air organs.” As Boy In Static’s set neared its end, the audience flooded in with spellbound expressions on their faces.

Hooray For Earth was the impetus that instantly shattered whatever spell Boy In Static had cast upon the audience. During “Metal Fume Fever” (a Juliana Hatfield cover) lead singer/guitarist Noel Heroux emulated Hendrix by playing guitar with his teeth. This showmanship led to a warm reception that was much deserved.

Then the classy Bon Savants put a brake on Hooray For Earth’s runaway train. They played a tight set, rocking out in style by raising their guitar necks and slashing down forcefully before hitting chords. However, their set was a bit too sluggish and out of sync with these motions. Evidently, their loyal fans didn’t seem to mind as they sang along to many songs.

Aberdeen City went on next, bridging the energetic gap left by Bon Savants’ performance. Guitarist Chris McLaughlin and his ear-piercing instrument had the most intensity of the night. His jagged guitar work perfectly complimented the adept vocals of Brad Parker. A noticeable sense of vitality permeated the room during their set, with the audience along for the ride.

-Review and photo by Byron Smith

Melt-Banana / Doomriders / Neptune
The Middle East Downstairs
Cambridge, MA
June 11, 2007

Neptune might be the only band out there that makes playing with light switches totally badass. They hit the stage right on schedule (that is, only 20 minutes after the starting time of 9 p.m.), sheepishly disclaiming the “wide margin of error” associated with the new songs they were about to play.

The half-capacity crowd, a healthy size for an opener, giggled a little before sobering up at the immediate danger of the sharp, scythe-shaped headstock waving only inches from the faces of those in the first row. “It looks like it’s made out of stone, down at the base of it,” mused one girl, clearly new to the Neptune experience, marveling at one of the band’s handmade junkyard guitars. “No,” replied a nearby fan, already a bit tipsy, “It’s all metal. Heavy metal.”

Nothing could be truer, in the literal sense of the term. But anyone expecting typical metal noodlings from this band would be sorely disappointed. Neptune doesn’t do typical. They do noise, clanged from their heavy, metal instruments and squelched from their various homebrew pedals, switches and knobs. And their drummer wears a gas mask for some songs, from which a hidden microphone projects vader-esque breathing in pockets of silence. This caught the crowd off-guard for the first few tunes, but everyone warmed up nicely. By the last song all it took was one guy pushing his way to the front for half the crowd to erupt spontaneously into a full-fledged mosh pit. Neptune exited the stage to eager pleas for one more song.

Doomriders kept the energy up with their meaty, palm-muted thrashings and harmonized lead lines, although such straight-forward growl-metal did seem a little out of place sandwiched between two innovative noise acts. But their set was tight and enthusiastic and marked by some impressive banter. The singer/guitarist, for instance, introduced the man to his left as “the best guitar player on that side of the stage!” But overall, one could sense that the audience mostly appreciated Doomriders for providing a good excuse to take an extended cigarette break between Neptune and the headliners.

And then there was Melt-Banana: Rika mm’ on the left, her small stature belying the heavy infectiousness of her bass lines; Ichirou Agata on the right, face covered as ever by a surgical mask — the image of a mad doctor dancing maniacally around his laboratory of effects pedals; and Yusuko Onuki in the middle, meekly occupying center stage in her zipped-up, angel-white hoody until it was time to sing/scream/rant, at which point she seemed to double in size and somehow start generating photons. Together they owned the stage, and everyone in the room, with unrelenting energy from start to finish.

To put things in perspective: Melt-Banana have been around for 15 years. But even though Melt-Banana are seasoned veterans, they performed with a freshness and conviction that one usually only gets from late adolescents with something to prove.

-Review by Jon Carter

The Joyce Andersen Band / The Coming Grass with Steve Jones / Jon Nolan / Spencer Albee, Zach Jones and Billy Libby
SPACE Alternative Arts Venue
Portland, ME
June 6, 2007

The Joyce Andersen Band took the stage first at the Maine Tracks Benefit for the St. Lawrence Community Arts Center. After some pleasing, roots-infused rock tunes — including the almost symphonic “You Might Live for Rock And Roll,” featured on the Maine Tracks compilation — Andersen picked up her fiddle and cast off any lingering inhibitions.

A bluesy “Tennessee Waltz” evoked hoots and hollers from the crowd, and Andersen’s voice took a leap from standard folk singer to duchess of soul. The keyboard turned into a piano, the electric bass swooped up a solo and the rhythm section literally shook the floors. The band maintained the energy for the rest of their set, closing with a roaring Celtic jig. And, yes, there was dancing.

The Coming Grass was up next, offering a series of well-known favorites including “The Rain Is Gone” and Steve Jones’ “Time for You.” Ordinarily, it’s easy to dissect a band into strong sections and weak sections, but to take the scalpel to The Coming Grass feels like sacrilege; they are seamless. On this particular evening, the label “alt-country” felt deliciously misleading given the band’s ability to ride the spectrum between the two genres with ease.

The crowd started dwindling, but those who stuck around for Jon Nolan hooted their approval for the folk singer/songwriter with a penchant for self-deprecating banter. A veteran of the stage, Nolan knew how to fill the room with a voice, a guitar, and some sweet melodies. After being beset with requests, he decided to stay for just one more tune — “Hope” — a country ballad about a broken-down tour bus, punctuated by hilarious and unexpected lyrics.

Spencer Albee, along with Zach Jones (also of As Fast As) and Billy Libby, rounded out the evening, ringing out a succession of intricate vocal harmonies over three acoustic guitars — and occasional flashes of the ukulele. From their banter to the way they carried themselves, parody seemed to be the name of the game; yet their harmonies were perfect and their playing seemed infused by a sort of effortless grace. The last song of the evening was for Albee alone, a ukulele ballad that sounded as though it had come straight out of the same era as Sophia Loren. The evening closed with the always-enigmatic Albee lilting, “I love you. You love me. We do.”

-Review by Rosaleen Torrey; photo by Charlie Gaylord

Scuba / Tony the Bookie / Ara Vora
P.A.’s Lounge
Somerville, MA
June 9, 2007

Picture the lead singer of a grunge band: shaggy, greasy hair, baggy t-shirt, black wristband. Now take away the heavy music that comes along with this image and throw in some power-pop. Take away the angst and add in some happy lyrics. And now you’ve got Scuba.

This Boston-based indie quartet played their first ever “Listening Party” on Saturday night at P.A.’s Lounge with bands Tony the Bookie and Ara Vora. The show was a release party for Ara Vora’s newest CD, and an unprecedented opportunity for the audience to partake in some “intense listening” of not only the three live bands, but also the new albums from both Ara Vora and Scuba.

Tony the Bookie, the musical moniker of P.A.’s booking agent, opened the night with a musically weepy song that featured an upbeat, empowered whistle, rather than vocals. The combination worked but had a drastically different feel than the rest of their Southern rock and blues set. And Tony the Bookie himself appeared wonderfully in touch with his southern rockin’ half, complete with scraggly hair and scruff straight from a bar in Nashville.

Between set changes, Scuba played their new album accompanied by an interesting mix of old videos projected on a screen hanging behind the stage. Featuring clips of black-and-white soldiers marching backwards and other downloads from archive.org, the video spiced up the set change and then continued throughout their show. According to Scuba’s guitarist, the band added the screen for the first time in order to do something different for the listening party. Scuba’s performance had a loose quality that served their sound well. However, parts of the set felt a little too loose, and though their nonchalance is one of their best qualities, a few of the songs needed more polishing for a tighter sound.

In any case, Scuba’s chilled-out vibe rubbed off on the audience in a way that created a unique sense of oneness between performer and viewer. And their rambling banter and cheeky sense of humor only added to this feeling. “There’s a video of this one on the CD ... at no extra cost!” the drummer joked. A bit later, their lead singer gestured toward the projection screen and asked, “Does it seem like art now?”

Politically charged songs like “iPod,” the occasional use of a lower vocal range and some syncopation mixed in with heavier, more aggressive musical passages strayed from the cheerful guitar riffs and wonderfully poppy melodies that drove most of Scuba’s set. In a world where creating commercial art is most lucrative, it’s refreshing to see bands toe the line between fun pop music and experimental rock.

Scuba’s on-stage personality and style of music was a fitting choice as second on the bill for Ara Vora’s release show. After their CD was officially and intensely listened to, Ara Vora kicked the energy up with their more mainstream sound. Due to a long history of being friends and sharing bills, the two bands worked well together to host a successful first listening party.

-Review by Becky Firesheets; Photo by Erin Yunes