New American Music Union – Recap

I feel bad for anyone who was unable to attend American Eagle Outfitters’ first ever New American Music Union festival in Pittsburgh’s South Side Works.

That being said let me relay what you missed.

The festival differed from most in many ways. First of all, it was set right in the middle of the city. Concertgoers could shop and dine at any of the South Side Works’ many shops and restaurants, including American Eagle, BCBG, Tosca and The Cheesecake Factory. Upon entry, any general admission or student ticket was given a voucher for a festival t-shirt and a BPA-free water bottle, bearing the festival’s logo. I found this fantastic. Not only did we receive a fantastic musical experience, but there are free goodies, too! To go along with the water bottles, NAMU had two free water stations available, where you could fill your bottle with fresh, clean water at no charge whatsoever.

NAMU -- Photo: Melissa Franko for wyep.org

The setting was fantastic for more than just dining and shopping in the city. Once you entered the main stage area, you had the stage before you and turning behind you, were greeted with a breathtaking view of Pittsburgh’s hills and sky, University of Pittsburgh’s Cathedral of Learning jutting majestically from the lush greenery. One also could not have asked for better weather. Before the festival began on Friday, rain showers made it seem as through we’d have a soggy experience, but by 3 PM, the clouds parted and the rain had cooled the city, giving us a cool, clear, and calm 2 days to enjoy NAMU’s phenomenal line-up.

Opening the show were New York’s Tiny Masters of Today. The tween-aged family act left something to be desired, but was surprisingly adept for their age. Their songs were simple, but something you would expect from twenty to thirty-something hipsters, as opposed to a 12 and 14 year-old brother and sister. While the vocals seemed monotone and off-pitch to start, they improved as the set continued, leading me to attribute it to nerves. The crowd responded to them quite well, despite my suspicion that they are widely unknown to most of the concertgoers. Closing their set with a humorous, but accurate, cover of House of Pain‘s “Jump Around,” Tiny Masters of Today are, at this point, more of an endearing novelty group. However, I can see them evolving greatly with a few years time. Definitely one to watch out for.

Tiny Masters of Today: live at Death Disco -- Photo: Shara Shisheboran

I’ve expressed before the difficulty I have with watching a DJ spin a set and being able to review it like a band playing. Orange-jumpsuited duo NASA took this into account and made their set fantastically entertaining. Though the set was a bit too loud, it was far from disappointing. Weaving familiar songs such as Heart‘s “Magic Man,” Blur‘s “Song 2″ and Rage Against the Machine‘s “Killing In The Name Of,” they keep the audience interested in more ways than one.

NASA -- Photo: Melissa Franko for wyep.org

NASA -- Photo: Melissa Franko for wyep.org

Not only were our DJ’s fantastically animated and interactive, a few minutes into their se, a pair of girls painted green with silver swimsuits emerged, dancing along as NASA introduces their “Martian Ladies.” Eventually, they are followed by a pair of astronauts in blue jumpsuits. One of these astronauts was a straight up b-boy, while the other is clearly proficient in popping and locking. Finally, some sort of space monster showed up; another dancer wearing what appeared to be a bear suit, topped by a reptilian mask. If you like electronic music, but find yourself bored just watching a DJ manipulate some turntables and a laptop, NASA is a group to catch.

NASA -- Photo: Melissa Franko for wyep.org

Photo: Melissa Franko for wyep.org

Photo: Melissa Franko for wyep.org

Just as dusk rolled around, The Black Keys took the stage. The Akron, Oh. duo managed to steal the show not only for the night, but for the entire two-day affair. Somehow, they manage to make a guitar and a set of drums sound like so much more as frontman and singer Dan Auerbach writhed around the stage. The guitars were bluesy, soulful, and even a bit crunchy, prompting solos that can only be described one way: face-melting. There are not a lot of words that can be said, other than the Black Keys brought the house down and Pittsburgh to its knees on Friday night.

Photo: Melissa Franko for wyep.org

The Black Keys: Dan Auerbach -- Photo: Melissa Franko for wyep.org

The Black Keys: Patrick Carney -- Photo: Melissa Franko for wyep.org

Photo: Melissa Franko for wyep.org

Closing the night was Pennsylvania’s own hip-hop heroes, The Roots. While their set was flawless, they were still no match for The Black Keys but still managed to bring the crowd to frenzy; couples swayed and made out to their sultry beats and hands were in the air cheering them on. All in all, a good way to close the night.

The Roots -- Photo: Melissa Franko for wyep.org

The Roots: Black Thought -- Photo: Melissa Franko for wyep.org

The Roots: Owen Biddle and F. Knuckles -- Photo: Melissa Franko for wyep.org

The Roots: Kamal Gray -- Photo: Melissa Franko for wyep.org

The Roots: Capt. Kirk Douglas -- Photo: Melissa Franko for wyep.org

The Roots: ?uestlove -- Melissa Franko for wyep.org

Saturday’s first big draw was Gnarls Barkley. The full band emerged in matching, burgundy prep-school style vests with Cee-Lo and Danger Mouse standing out in gold blazers. Throughout the set, Cee-Lo lost articles of clothing, ending with his white dress shirt unbuttoned over a white tee, claiming, “my shirt ripped while rockin’ out for y’all!” This group is phenomenal, with every bit of instrumentation live, right down to the xylophone riff on “Gone, Daddy, Gone.” The entire set, the audience was unable to hold still, dancing along to every song.

Gnarls Barkley: Cee Lo -- Photo: Melissa Franko for wyep.org

Photo: Melissa Franko for wyep.org

Gnarls Barkley: Danger Mouse -- Photo: Melissa Franko for wyep.org

Gnarls Barkley -- Photo: C.C. Chapman

Gnarls Barkley -- Photo: Melissa Franko for wyep.org

Gnarls Barkley -- Photo: C.C. Chapman

Photo: C.C. Chapman

Photo: Melissa Franko for wyep.org

Photo: C.C. Chapman

Following was Spoon, who can only be described as hypnotic. In the same way it was impossible to ignore the group, it was also possible to completely lose yourself in them. The band had brought along live horns, which, frankly, I’m kind of a sucker for. The bass drum drove right into your core…

Spoon: Britt Daniel -- Photo: Melissa Franko for wyep.org

Spoon: Eric Harvey -- Photo: C.C. Chapman

Spoon: Rob Pope -- Photo: Melissa Franko for wyep.org

Spoon: Jim Eno -- Photo: Melissa Franko for wyep.org

Photo: C.C. Chapman

Photo: C.C. Chapman

Photo: Melissa Franko for wyep.org

The Raconteurs took the dusk spot on Saturday night, ushering in the night with—well, frankly–awesomeness. As the highlight of that evening, people in the all-access crowd pulled themselves on top of tour buses to watch them play. Jack White and Brendan Benson share the stage well, each aware of when it’s the others turn to shine. Their songs got longer and longer, the group working their way into a slow, haunting, bluesy feel with every guitar solo being absolutely incredible.

The Raconteurs -- Photo: C.C. Chapman

The Raconteurs: Jack White -- Photo: Melissa Franko for wyep.org

The Raconteurs: Brendan Benson -- Photo: C.C. Chapman

Photo: C.C. Chapman

Photo: C.C. Chapman

Photo: C.C. Chapman

Photo: Melissa Franko for wyep.org

Photo: Melissa Franko for wyep.org

Finally, the biggest draw of the entire festival, Bob Dylan took the stage…and was utterly disappointing. Not once did he pick up a guitar, being known for being a guitar-based songwriter. Dylan stayed on keys and harmonica for his whole set, barely moving and letting his band do all of the work. Sure, he’s known for not being a great vocalist: he’s actually known for being quite a bad singer. This was worse. Age has lent an extremely gruff quality to Dylan’s voice, making him sound as though he’s channeling Tom Waits, and causing his lyrics to be even less intelligible than usual. It was difficult figuring out what songs he was even playing.
What. A. Letdown.

Festival curator Anthony Kiedis expressed interest in keeping the festival going in years to come and I pray to God that he does. I can only hope that something like this gets bigger and better with each year, and if this groundbreaking first try is any indicator.

Anthony Kiedis -- Photo: C.C. Chapman

Anthony Kiedis -- Photo: Melissa Franko for wyep.org

Pittsburgh’s big new music festival can only go up from here.

New American Music Union: website | performances

Photos: C.C. Chapman for A.E./NAMU and Melissa Franko for wyep.org

The Honorary Title – Scream & Light Up The Sky

The most distinctive thing about The Honorary Title is singer Jarrod Gorbel‘s voice. I have yet to meet a woman who would not love having Gorbel sneak into her room at night and make love to her with his silky pipes. He holds true to this on THT’s latest release, Scream & Light Up The Sky. The album is filled with everything that he is capable of vocally from his soft, whisper-like pleas to his powerful, soaring cries of passion that cause his voice to break in the most delightful of ways.

The group is known for their folk-esque, lush indie-pop melodies, most often laden with melancholy melodies of heartbreak and sex; this new release is no different. The one exception is “The City’s Summer,” a celebratory track that one can’t help but bop their head along to. The changes in the opening track, “Thin Layer,” are divine and irresistible, proving the group’s mastery in their style of songwriting.

The group has always had a flair for smart lyrics: “Have your lips grazed another’s yet / Or am I the only one? / Every time I try to speak to you / Those are the thoughts that run,” opens the slow-dance ready “Only One Week.” However, I don’t feel anything the group could come up with would be capable of topping a line from “Cut Short”—a track from their previous release Anything Else But The Truth–”We can be like onions and peppers in a sleeping bag fajita.” Honestly? What’s more endearing than that?

All in all, Scream & Light Up The Sky is another win for The Honorary Title. Play this album in the background of a casual late-night gathering, or while stealing some smooches (and then some) from your squeeze. The whole album flows, creating a fantastic, mellow atmosphere, and upon closer listens, will break your heart.

Scream & Light Up The Sky is available now.

Tour Dates: (acoustic shows – just Jarrod and Adam)
Sep 04 – Jack Rabbits / Jacksonville, Fl.
Sep 05 – The Social / Orlando, Fl.
Sep 06 – Common Grounds / Gainesville, Fl.
Sep 07 – Orpheum / Tampa, Fl.

The Honorary Title: website | myspace

Warped Tour @ Post Pavilion Gazette, Pittsburgh

Ah, Warped Tour… every teenage scenester’s festival of choice. A sensory overload in the oft-blistering heat, as well as a bit of a surreal experience as it is sometimes difficult to believe one is seeing so many exceptional bands in one day.

Shwayze

I began by checking out MTV darling Shwayze, accompanied by the ever-greasy Cisco Adler at the Hurley.com stage. The two work well together, psyching up the crowd with their cheesy, yet fun summer-friendly tunes. The hip-hoppers had an obvious backing track for their sung vocals, but the audience didn’t seem to mind. They cheered and sang along with every song despite the juvenile subject matter. Every song they performed was about, as the boys put it themselves “drinkin’, fuckin’ and weed!” I couldn’t bring myself to stay for the rest of their set, as truly stupid lyrics annoy me

Anberlin

At the MySpace tent, I managed to catch a couple songs in Anberlin’s acoustic set. For a Christian band, they show no preachy messages in their music and lead singer Stephen Christian has a truly beautiful voice. I’m torn on the idea of having acoustic sets in the MySpace tent as being a good one or a bad one. While the small, intimate, and toned-down setting is a nice change, the tent itself is much to small for most concertgoers to catch much more than a small earful of these sets.

Katy Perry

America’s beloved new sex-kitten (and Gym Class Heroes’s Travis McCoy’s girlfriend) Katy Perry emerged onstage to the intro of Heart’s “Barracuda,” and did not disappoint. Her energetic and entertaining stage demeanor was kept up throughout her entire set, including the bit where she insisted that it was so hot, that everyone should take off an article of clothing, Perry herself humorously shedding a shoe. On her recordings, Perry’s vocals tend to have a lot of production behind them, making me fear that her vocals could not deliver. I was very glad to hear the strong, pretty voice she had to offer us, with no backing track to be heard. The crowd for her set was fairly calm, but still clearly enjoying her performance, as she pranced her way through her songs, including “One of the Boys,” “You Can’t Afford Me,” and “Ur So Gay,” even strapping on a guitar for a few of the songs.

Schlepping back to the Route 66 stage, I caught ska legends Reel Big Fish. Being one of the oldest bands on the Warped Tour ticked, I was surprised to see that they had an even bigger crowd than the recently radio-friendly Gym Class Heroes and Katy Perry. They prove that they’re seasoned pros, tackling some wonderful harmonies. Spanning their catalog from “Everything Sucks” to “Suburban Rhythm,” their set is fantastically entertaining, peppering their onstage banter with quotes such as “I’m so rich! I was on MTV one time!” RBF is definitely a band that’s showing these youngsters how it’s done.

Reel Big Fish

Now, I know you had already gotten a review of Chicago rockers The Academy Is… from our Kansas City Warped Tour coverage, but I decided I needed to see them for myself. TAI does not need to take lessons from RBF. They know how to play a show and work a crowd, playing as much for the audience as they do for themselves. Opening the set with “Neighbors” and going into this Popwrecker’s personal favorite “Slow Down” frontman William Beckett is all over the stage, wielding his microphone stand like a weapon.

The Academy Is...

His vocals are impressive and clear as a bell, sounding better than they do on the band’s studio albums. Going into “Big Bang” and “Black Mamba” the whole audience is singing along as guitarist Michael Guy Chislett demonstrates his formidable guitar chops. Bassist Adam Siska, or as Beckett refers to him “Sisky Business” is almost a match for the svelte singer’s onstage manner. I was grateful that the band was awarded an extra 10 minutes for their set and cheered with the rest as they closed the set with “Almost Home.”

Staying at the Route 66 stage and pushing my way forward, I snagged a front and center position for one of my most highly anticipated bands, Motion City Soundtrack. Being a Warped Tour virgin, and not using my head, I realized this was a bad idea. The crowd rushed the stage the moment the band began to play their opening number “Attractive Today” and I was continuously assaulted by crowd surfers for the entirety of their set. Although, I wasn’t exactly able to see them most of the time, the band did not disappoint, playing songs spanning all three of their studio albums. From “The Future Freaks Me Out” and “My Favorite Accident,” to “Everything Is Alright” and “Broken Heart,” every song was completely en pointe.

Motion City Soundtrack

Finally, I caught the up and coming Ludo closing the show at the Hurley.com stage. Earlier in the day the band and I sat down for some witty banter. As a matter of fact, attempting to interview these St. Louis boys gives you nothing but an exchange of witty banter. This year is their first time being on Warped Tour for longer than a week and they are absolutely loving it.

Frontman Andrew Volpe is the mouthpiece for the most part, saying, “This is the best tour ever. We get food, shows, a bus—it’s a better experience than we’ve ever had before.” The band, named for the loveable yeti-like character from ‘80s cult classic Labyrinth want their music to be “a home for runaway teens.” Volpe says, “We have this whole idea of our music entertaining people without making them stupider. But I think we’re failing. I watch people walk away after our shows just looking dumb.” He’s kidding of course… I think.

Ludo

Although, keyboardist Tim Convy and bassist Marshall Fanciullo seem to be nodding in agreement. Volpe continues, “We get to be on the road with all these great bands: Reel Big Fish; Say Anything,” the rest of the band begins adding their favorites, including Oreskaband, Relient K, Story of the Year, Dr. Manhattan and The Aggrolytes. Convy picks up where he leaves off, “but we tend to listen to as little rock as possible in our down-time — a lot of old, acoustic stuff, trying t balance everything out.” When queried about their greatest moment as a band together, the band answers jokingly, “This right here. In this room. Doing this interview. With you.” As I laugh Convy adds in, “getting to do this…cool tours, with touring getting easier. We couldn’t ask for more.”

But Fanciullo seems to somewhat disagree. “I think you should recycle: glass; plastic; aluminum.”
“What about paper?” Volpe interjects.
“Nah. Fuck paper.”

Ludo’s set is just as entertaining as the one-on-five time I got to spend with them. The relatively young band has the stage presence of a group that has been around for much longer. Volpe’s vocals are fantastic, dripping with wit. Convy uses the entire stage when he’s not anchored to his keys, which seems to be as often as he can get away with. Their creative song-writing is comparable to Blue Album-era Weezer combined with Harvey Danger, including delectable lyrics such as, “You taste good tonight.”

If you combine 4-part harmonies with a sense of humor, you’re good to go in my book, and Ludo does just that. The 5 piece closes the show with a cover of Faith No More’s “Epic,” and while it was flawless, I wonder if it was the right choice for the crowd at Warped Tour. Although there were a few people here and there rocking the hell out, most of the younger, emo-concious listeners seemed confused, clearly not recognizing the tune.

I can’t lie. I was glad to leave when Warped Tour wrapped up for the day. I was hot, sweaty, tired, hungry, and overloaded with everything I had just seen, heard, and experienced. While festivals are a great idea, giving music fans the opportunity to catch so many of their favorite bands in one day, it’s definitely not something I, personally, would go for on a regular basis. I prefer evening breezes and longer sets to the sweltering mid-day sun and 30 minute previews that Warped Tour gives us.

Written by: Sara Bellum

Supergrass @ Peterson Events Center, [University of] Pittsburgh

I absolutely cannot wait for Brit-Indie rockers Supergrass to headline a US tour. Having been a fan of their self-titled release since they dropped it on the States in 2000, I was incredibly excited for this show. The fact that they were opening for the never-disappointing Foo Fighters only thrilled me further. Dave Grohl surely wouldn’t have a lackluster band opening for his powerhouse group, would he?

He certainly did not. However, Grohl still let me down in a sense. Now, I know that he really doesn’t have too much of a say when it comes to set times, but Supergrass was robbed. In comparison to the headliner’s nearly 2-hour set, Gaz Coombes and his boys were allotted only 35-40 minutes of precious stage time. Hardly enough to showcase to the unfamiliar crowd what they were truly capable of.

I was also disappointed, yet understanding in the band’s setlist choice. Showcasing songs from their newest album Diamond Hoo Ha, they neglected to play anything from Supergrass save for the semi-psychedelic sounding “Mary.” I completely respect and support any bands decision to not play their hits, but when playing to an audience not familiar with your catalog, it seems to the logical thing to play something they may have heard, such as “Pumping On Your Stereo,” their minor hit from 2000, in order to elicit the reaction the band deserves.

Now, don’t get me wrong. The crowd wasn’t completely bored. The band elicited head-bopping and toe tapping, even screams and Frampton-style handclaps from those right in the thick of it, down in front. Yet it was nothing near the frenzied response Supergrass deserves. I’d truly like to see them again when the bulk of the crowd is there to see them.

True to their recordings, Supergrass is like a band from another era. Their sound has always been one that seemed to come from the late ‘60s or early ‘70s. Their performance is no different. Straight down to the man seeming to be specializing in back-up vocals and tambourine, they play the brand of rock music that makes you want to dance. Not only that, its music that would be safe to dance to–something that is so hard to find in modern rock.

Supergrass is definitely a band to be seen. Their musicianship is flawless and their stage presence is brilliant. But wait until a time when you can see them get the glory and appreciation they merit. On this tour, the Foo Fighters are busy (not undeservedly, mind you) hogging the spotlight.

Written by: Sara Bellum
Photo: Jonathan Davis.

Amos Lee @ Rex Theatre, Pittsburgh

It was the perfect atmosphere in Pittsburgh for what Amos Lee had to offer us. The air was hot and thick with sweat and soul, and it would have seemed like a sin to listen to this Deep-South sounding troubadour in any other setting.

The crowd was rife with energy as a man who looks more likely to be making you coffee than rocking the house takes the stage. I’m unfamiliar with the music of Amos Lee, and looking around the varied types of people in the audience, I’m unsure of what to expect. From college frat boys, to handfuls of girls that could easily be the daddy’s little princess type, middle-aged women and the typical indie-rock kid, every societal caste is well represented at Pittsburgh’s Rex Theatre tonight.

From the moment the music begins, I am in awe. Here stands a scruffy white guy in a pork-pie hat who sings like Marvin Gaye and makes the air feel like sex. Feeling every lyric and melody that he’s singing, Amos Lee plays entire songs with his eyes closed. His vocals are unbelievably smooth, as are the harmonies. As a matter of fact, the 4-part harmonies on “Night Train” were enough to make me audibly moan. The rest of the band—keys, bass, and drums—are just as wrapped up in the music, the keyboardist unable to stay in his seat for many of the songs, bouncing on his stool with every other beat. The band’s excellent use of dynamics is striking and effective in a world where every band keeps everything cranked up to 11, nowadays.

I can tell right away that this is what Paulo Nutini is trying to be. This is what Shawn Mullins wanted to accomplish. This perfect blend of blues, funk, folk, soul, and rock, with hints of Van Morrison‘s ghost and dripping with the sexual tension and release of a romantic evening is exactly what so many other musicians have tried to accomplish and, as close as they’ve come, have fallen short.

Adding to this already spectacular blend of genres and styles is Lee’s lyrical content—both depressing and hopeful. The overall effect makes you feel as though you’re going to spend one perfect evening with the perfect partner and then kill yourself. Some songs, such as “Bottom of the Barrel” and “Shout Out Loud” cause the entire theatre to clap along, almost giving the feeling you’re in attendance of a Southern Baptist Gospel Choir. No matter what, Amos Lee’s songs each evoke some sort of strong emotion.

Whether he tries to or not, Lee connects with his audience. There isn’t a lot of crowd interaction and funny anecdotes from the road and the studio. As a matter of fact, Lee only addresses the audience to introduce the band. Regardless, the entire crowd is swaying and moving throughout the show. On the up-tempo songs, the venue takes on a party-like atmosphere, with everyone dancing and singing every line along with the band. Even on the mellow songs, you can’t help but move and dance. Even the types whom you know would normally be standing there with their arms crossed have their head bopping and a hip shaking with the rest of the audience. The energy is infectious.

Including the 5-song encore, Amos Lee and his band inhabited the stage for over an hour and a half, closing the show with a cover of Queen‘s “Fat Bottomed Girls” fit for a hoedown. Granted, it would be the sexiest hoedown this country has ever seen. The show was well worth the ticket-price, and then some. Where I would complain about most venues being so warm, it helped to set the stage for the sounds Amos Lee made come from his guitar and his throat. At many shows, one wonders when the band is going to be done, secretly sighing at each additional song they play. Amos Lee could have played all night and the party would have just continued. We had girls, we had boys, and we had beer and had the band played on, we would have as well.

Finally, I feel it is my duty to issue a warning to those planning to attend this tour. There is one precaution that I would advise to you, and that is do not listen to Amos Lee while wearing pants. They’ll just get in the way.

Amos Lee: website | myspace

Written by: Sara Bellum
Photo: Jonathan Davis

Happy Birthday!

Happy Birthday to PopWreck(oning)‘s own sweet and sassy Steel Town girl, Sara Bellum!

Make it a good one

The Gossip – Live In Liverpool

Who knows why it has taken so long for The Gossip to catch on in America? I sure as hell don’t, but the motherland of England has known what’s up for quite awhile. The band’s Live In Liverpool album lets us hear what The Gossip is really capable of, and how much Liverpool loves them.

Now, if the spirits of Robert Plant and Janis Joplin were to converge into one soul, they would probably be Beth Ditto. Ditto is a big girl with a big voice and doesn’t hide either one of them. She’s got a pretty, soulful voice that she can instantly transform with a blues-rock scream. The beats and melodies found in the instrumentation are simplistic, but solid, giving Ditto the freedom for the strong, seemingly Led Zeppelin inspired melodies that soar over the driving rhythms.

I must admit that this is my first real exposure to The Gossip. After hearing about them for years, deciding if I wanted to check them out or not, this album was thrust upon me, and I’m glad it was. They’re one of those great bands that defy classification of genre, yet you can clearly hear the influences of punk, soul, and blues. They rock the fuck out and you can either choose to headbang, dance, or just stand there and absorb.

My only complaint is with certain qualities of Beth Ditto’s voice. There’s a strong vibrato element that mars the purity of what I’m sure her voice could sound like. I’m unsure if this is due to nerves or the fact that she’s just flying around the stage so much, energy flying every which way. However, the shaky quality does not hinder the rest that the band and album have to offer.

Highlights include “Standing In The Way of Control,” “Yr Mangled Heart,” and a cover of the late Aaliyah‘s “Are You That Somebody?” proving that the only ones who can do R&B better than skinny black girls are big white girls.

The Gossip: website | myspace

~Sara~

Interview With: Trever Keith

Trever Keith, front man of the legendary Face To Face is flying solo these days. His outlook on the new endeavor? “Ignorance is bliss. This isn’t Face To Face music.” It’s always difficult to start up something new, but Keith isn’t having too many issues. “It’s a little strange, but the tour is going better than expected.” While is solo effort and previous Face To Face releases are similar in tone, “the new stuff is branching out. We’re experimenting with a lot more drum loops and samples.”

Since he had been leading Face To Face for over 15 years, Trever Keith has been to Pittsburgh a number of times. “I love Pittsburgh. There’s good fans here, and I feel comfortable.” He also, most certainly, knows what’s up when it comes to new music, considering how long he’s been making it himself. Who’s doing it right in his eyes? Apparently very few. In the small handful of bands he lists: Radiohead, Grinderman, Film School, Battles, and Morrissey are the only ones who’ve got it down.

Tonight, at Pittsburgh’s 31st Street Pub, Keith is backed by a band called Say Vinyl. The group opens strong, though as the set continues, the backing band comes off as a bit lackluster. Keith, however, shines through as the seasoned performer he is. Throughout the show, he maintains excellent eye contact and interaction with the audience, giving that connection that every fan craves. It’s gratifying to note that Keith plays all of his own guitar solos, proving that he’s not grown too big for his britches, as so many performers these days have.

Through the solid mix of songs, I struggle to hear the harmonies. However, my difficulty in hearing those subtle backing vocals did not prevent me from hearing that Trever Keith’s new material is absolutely beautiful. With devastatingly relate-able lyrics such as, “I should just stay away from you / That’s why I don’t,” and “I thought I would feel something different this time / Instead I don’t feel anything at all,” connecting with this music and this man is something that takes no thought or effort. Keith’s heartbreakingly honest vocals over the absolutely beautiful lines flowing from the bass, make the idea of trusting him that much easier.

The audience clearly agrees with this sentiment. Keith sums it up by saying at one point, “I didn’t think a crowd that small could make that much noise!” He tells me later, “any fan is great, as long as there’s no heckling. Even so, it’s just gratifying to be acknowledged, and to make that connection with strangers.” There was no lack of connection in the pub tonight. Seeing this man, who truly knows how it’s done, is something not to be missed.

Trever Keith: website

~Sara~

The New Frontiers – Mending

It seems as though every successful and memorable band these days has some sort of gimmick or quirk that makes them memorable or successful. Conor Oberst and Kevin Devine do well with being shy with shaky voices and political anthems. Stars and The Postal Service corner the market on dreamy, ethereal electro-pop. Dave Matthews has horns and Murder By Death has their post-punk, Johnny Cash motif.

With The New Frontiers, their gimmick is that there is no gimmick. Their album Mending is quite simply the most pure, beautiful music to reach my ears in I don’t know how long. Opening with the driving, yet transcendent “Black Lung,” the entire album is solid and cohesive. By the closer, “Who Will Give Us Love,” the listener is left breathless and wanting more. From the first sweeping chords on the LP, the words “oh God, yes,” escaped my lips before any words escaped the lips of singer Nathan Pettijohn. As a matter of fact, I listened to this album for four days straight, only to put it back in halfway through the album I had switched it for.

Fellow PopWrecker, Joshua, called me to discuss Mending. The conversation went something like this:

Joshua: I’m listening to The New Frontiers.
Sara: Isn’t it spectacular?
Joshua: This is the best fucking album to come out so far this year.
Sara: I know.
Joshua: Everyone needs to own this album.
Sara: I know.

We then proceeded to relate our favorite tracks to one another, naming every song on the album between the two of us.

Listen to Mending by the The New Frontiers in the dark, with candles lit. Your breath will catch in your throat. Tears may come to your eyes. And I swear on a stack of Beatles albums, you’ll feel what it’s like to fly.

Mending drops on April 29, 2008 via The Militia Group.

[Standout Tracks: Black Lung, The Day You Fell Apart, Mirrors, Passing On, Who Will Give Us Love]

The New Frontiers: website | myspace
The Militia Group: website | myspace

~Sara~

Stars – Mr. Small’s, Pittsburgh Pa.

Stars singer and guitarist Amy Millan slashed her finger open on Sunday and was rushed to one of Pittsburgh fine UPMC based hospitals where she was given six stitches. That night, she had a show at Mr. Small’s where she was expected to play. Play she did, and not a bit of the band’s 90-minute set was weakened by her stitched up digit. What a trooper!

This opening is my way of saying that not a thing could have ruined Stars performance on March 30th. The show opened with the delightful electronic loop from the first track, “The Beginning After The End,” on their album In Our Bedroom After The War. The band took the stage one by one as the loop became “The Night Starts Here,” and they slowly added their instrumentation, filling out the sound. Finally, Millan’s voice carries over the crowd, clear and pure as a bell, telling us “Forget your name / Forget your fear,” and we do, letting the music completely absorb us.

Across the stage were scattered bundles and bouquets of white flowers with red roses nestled in them. At various points throughout the show, handfuls of rose petals would be scattered overhead, left to flutter into the crowd. Band members would randomly grab the roses themselves, and fling them to the audience, letting fans know how much they were loved by the band.

Vocalist and multi-instrumentalist Torquil Campbell is, as Tyra might put it, fierce. His performance style has a seductive charm that is intense, frightening, and, actually, quite sexy. He explains to us, “I spent 4 weeks in Pittsburgh a few years back trying to make a girl fall in love with me. So, it’s a very romantic place for me….because there’s nothing more romantic than failing to make someone fall in love with you.” The audience is mesmerized as he uses his anecdote as a lead in to “Reunion” from “Set Yourself On Fire.”

By the end of the show, every rose on the stage is in the hands of an audience member, as the band exits the way they entered…one by one, taking the time to distribute the last of those flowers. The air is different in the church cum venue, and we all feel changed.

Highlights include “One More Night (Your Ex-Lover Remains Dead),” “Personal,” “Soft Revolution,” “My Favourite Book,” and one of the final songs of the encore, “Calender Girl” wherein Campbell got as much in the crowds’ face as possible and nearly demanded that they scream back to him “I’m Alive!”

Hands down. By far. The best show I have attended in the past year. This review may be short, but that is merely because words cannot adequately express the experience had by seeing Stars live.

Stars: website | myspace

~Sara~