Wednesday, February 15, 2012

The Kills 10th Anniversary Show

The Kills were back at it, visiting Terminal 5 for the fourth time in less than a year.  This time it was for a special 10th anniversary show that brought their freight train of an international tour to an end.

Before the Kills, JEFF the Brotherhood played an opening set.  Not only are the brothers becoming a household name on the live music circuit, but are tearing it up with increasing confidence.  They played several of their signature songs, including the title track from their fifth studio album “Heavy Days” and the song they recently performed on the Jimmy Fallon Show, “Diamond Way.”  The last song they played was their newest single “Whatever I Want” (released by Third Man Records).  However, they performed it with a special surprise; Alison from the Kills took over on vocals!  At the show, the group was selling a new compilation record Brotherhood of Light, which is a collection of previously released, but out of print odds and ends.
After the packed crowd sang “Happy Birthday” to the Kills, Jamie and Alison took the stage.  Through songs old and new, they dominated Terminal 5 with a performance just as epic as their previous ones, but this time with an extra sense of something special.  The huge difference was in Alison’s hair.  Previously jet-black, it had recently been dyed pink at some point along the tour.

The show was obviously an important one to the group, as they had expressed both online and at the show.  The Kills are one of those humble groups that are genuinely grateful of their fans.  Alison put together a little booklet of prose and drawings that were handed out to everyone that attended the show.  They also had a beautiful tour poster (a Rob Jones print) depicting a black and white birds-eye view of Broadway, with two floating black balloons, giving a nod to their equally as beautiful song “Black Balloon” (which they played).  It was an extremely touching moment as Jamie and Alison brought the show to a close with a hug and a bow.

The Full setlist: 
  1. No Wow
  2. Future Starts Slow
  3. Heart is a Beating Drum
  4. Kissy Kissy
  5. U.R.A. Fever
  6. DNA
  7. Satellite
  8. Last Day of Magic
  9. Crazy
  10. At the Back of the Shell
  11. Black Balloon
  12. Baby Says
  13. You Don’t Own the Road
  14. Tape Song
  15. Cheap and Cheerful
  16. Pots and Pans


  1. The Last Goodbye
  2. Nail in My Coffin
  3. Sour Cherry
  4. Fuck the People
  5. Monkey 23
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(All Original Photos)


The Smith Westerns supported by Porcelain Raft and Bleached at Webster Hall (1/31/12)

Bleached was the first to play on the last day of January at Webster Hall.  I was curious to see them because of the media attention they have been getting as a band to watch in 2012, but I unfortunately could only get there in time for their final song.  From what I briefly heard, it seemed like they had been putting it all out there on the stage that night.  However, it is what I saw that really pays respect to them—a packed room.  It was probably the most crowded I have seen Webster Hall that early in the night, so apparently their media attention has begun reaching broader heights, and I hope to be able to catch them in the near future.  

The second band on the bill was Porcelain Raft, a self-done electronic project by the singer/songwriter Mauro Remiddi.  He had a drummer accompany him for the live performance as he did his thing—which was an electronically dreamy sound that he played guitar/keyboard along with while singing in a smooth, soft voice.  The two of them were very aware musicians, and were very particular about every little noise that they produced.  They used several props with their instruments for unique effects, such as slightly dangling a group of bells tied together on the surface of the drum set's cymbal.  At the end of the night, Mauro was available at the merchandise table to talk to.  He had limited tour edition white vinyl records for sale, and after talking to me for a few minutes he was nice enough to pose for a picture (on the right).
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The Smith Westerns came on as the headliners of the night to a crowd that suddenly seemed younger, and acted a bit more rowdy than the band’s sound really called for.  It was an obvious excuse for the kid’s with an X marked on their hands to jump up and down and try to grind on each other.  That being said, the Smith Westerns are also just kids, but it is truly impressive how much they have established themselves at such a young age.  With two albums out, the group was recently opening for the Artic Monkeys this past fall before they deservingly began their own current headlining tour.  The Smith Westerns were a very professional sounding group.  They played their instruments cleanly, and had a mature sound reminiscent of rock bands from before their time.  The Smith Westerns are off to a great start and have a long and promising future ahead of them.

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(All original pictures)


Saturday, December 17, 2011

The Voodoo Fix at the Bitter End 12/15/11

(The Voodoo Fix logo, taken from their webpage) 


The name The Voodoo Fix itself is attention grabbing, but the powerful voice of singer Abe Rivers is what can grab the attention of a room.  When I saw the group play on Thursday night, as they were recording a live album in front of a late night crowd at The Bitter End on Bleecker Street, I couldn’t ignore their cool demeanor.  Perhaps it was because of their hair styles and overall attire, or maybe it was just their bar side manner, but this was a very likable group of guys.

Abe was sharply dressed with his usual attire of a suit and tie, and kept his shades on beneath his long curls in the true spirit of the blues.  The bass player, known as Captain Willy, wore a white Captain’s hat as he walked around the stage barefoot, guiding the music with his guitar.  The attire of the rest of the band was a mix of class and the look of rock n’ roll; seemingly a tribute to their blended sound of rock and blues.  Of course, the image of a band would be meaningless without a good sound to accompany it. 

Before I get to their actual performance though, a bit of background on the Voodoo Fix.  Coming from the Los Angeles area, the five-piece group has only been together since 2007, but has already released the full length LP “Not For Nothing” (available on iTunes or and two EPs (available on the website).  They recorded “Not For Nothing” in one month in a remote mountain cabin, and have been thoroughly touring since. 

After initially playing around California, including gigs on several college campuses, the band set its sites on becoming nationally recognized, and has since played shows in cities such as Austin, Burlington, New York, Atlanta, Philadelphia, and New Orleans among others. 

However, they have also done many “tour-ganic” shows playing free for gatherings on farms.  According to the band’s website, tour-ganic is “the act of bringing people together through music, art, and grass-roots, usually on a farm” and “is an independently financed, grassroots traveling festival that [the Voodoo Fix] started to help spread [their] music, but more importantly to support and raise funds for Independent Organic Farmers nation-wide.”  This intriguing concept has allowed them to play on farms in places like North Carolina, Connecticut, Arizona, Pennsylvania, and of course, California to connect with a broader range of people than you would typically find at a city venue. 

In contrast to their tour-ganic performances, the Voodoo Fix was the headlining band at the Bitter End on Thursday, coming on stage around 10:45 pm for their live recording.  The venue was crowded as people filled up all the seats around the serving tables, and others stood in packs wherever they could find room.  The group began playing confidently, proving they were no strangers to the stage.  They started on an upbeat note, which lasted through their entire set of original songs.  As I previously mentioned, Abe has a very powerful voice, but it also really compliments the band’s style of bluesy rock.  The songs were rapid, with short waves of sound bursting through the air.  While Abe belted out the lead vocals, the other members of the band also contributed with vocals of their own, adding a surrounding sense of fullness. Each member of the band was on fire, contributing different styles to define the Voodoo Fix sound.  The full performance was the sort of high-energy funky music that you want to stomp your foot, clap your hands, and nod your head to.

While currently basing their operations out of New Haven for their East Coast sting, The Voodoo Fix has been playing shows from Philadelphia through Vermont.  They still have several more shows in the area over the next few months, and more will surely be added (  I am already looking forward to going back and seeing them, as the Voodoo Fix has my full support.



(Original photographs taken by JKS, video found on youtube)  Photobucket
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^^Watch them play from a previous show in Austin^^

Thursday, December 15, 2011

The National play the Beacon 12/13/12

(an original photograph by RTM)

The lights suddenly dimmed inside of the beautifully decorated three-tiered Beacon Theater.  The house music turned up a few notches catching people’s attention with Duran Duran’s “Wild Boys,” and the backdrop of the stage went purple and flaunted the words “The National.”  The band was getting ready to come on stage. 

Over the past several years The National has become a nationally prominent band.  They have released five albums since 2001, but their fourth album The Boxer (2007) has received the most acclaim.  However, since their fifth release, High Violet (2010), the band has continued to thrive, especially in the New York area as they are based out of Brooklyn.  Known for frontman Matt Berninger’s monotone voice, I was curious to see how the band’s music would translate live.

Tuesday night was their second of six consecutive shows at the Beacon Theatre, with each of the shows selling out shortly after tickets went on sale.  Every single person in the theater stood up and applauded the guys when they came on stage. 

Slowly, people began to sit back down, but by the end of the band’s third song, the recent upbeat hit “Bloodbuzz Ohio,” the entire crowd on the floor level was on their feet, and would remain that way until the end of the show. 

During the next song, “Squalor Victoria,” Matt made it clear to the crowd that he wasn’t going to stay monotone through the whole show.  During the height of the song, he was screaming into the microphone. 

Listening to The National’s studio music, it seems like they have a lot of mellower songs, with some faster paced songs mixed in.  However, their live performance proved to be the opposite with mostly rockin’ songs and just a few mellower songs mixed in.  The National’s greatest strength as a band is how they build towards a climax—mellow or upbeat—each of their songs proves to be a crescendo.  As their songs picked up intensity, the light-work accompanying the music began pulsating, which culminated in high-energy performances. 

At the end of the nineteen song set though, The National ended on a much more intimate note.  They ditched their drums, amps, and microphones, and called out guests (including St. Vincent, Annie Clark, and opener Sharon Van Etten) to help them sing an A cappella version of “Vanderlyle Crybaby Geeks.”  I have seen other bands try to end shows on a similar note in the past, but have failed at doing so.  The National did a wonderful job with it, as the crowd watched with admiration and sang along as the night came to an end.


(an original photograph by RTM) Photobucket

Saturday, December 10, 2011

Fifth Nation @ Paulies in Pleasantville, NY 12/9/11

   It was at Chris Bro's monthly "All Things NEXT" Charity Concert in Pleasantville, NY (Dec. 9th edition) where I stumbled upon Fifth Nation. I was there on the bill playing drums with the Steven Wright-Mark band, and F.N. happened to be the headlining act. (Check out more of the bands that Chris brings to his concert series- for more on NEXT)
   We had done a little homework before the show to see who we were sharing the bill with- (See one of the music videos that Fifth Nation recently put out below this review). Singer/Guitarist, King Julia and Drummer, Musik Read are originally from Austin, TX, now based out of Brooklyn, NY. They're a rock duo in the same vein of The White Stripes, Black Keys, Matt and Kim, or The Ting Tings; but their sound and look stand alone. 

  I thought they had started their set , but it was only a quick sound check when KJ was singing a rhyme into the mic, making it up on the spot. She playfully turned the mic-check into a greeting to the audience and a "let's get this show started" kinda thing that turned everyone's head towards the stage. Her vocal style is rhythmic, mid-register, raspy and technically strong but soulful. Her guitar technique while she's singing stood out to me, using jazzy chords and finger picking most of the time with a "gritty-reverb-ish" tone coming from the guitar amp. The combination of elements in her playing only adds to the originality of the sound. Musik Read's drumming is tasteful and complementary to the music. He plays an un-conventional set-up and style of drums, incorporating broken-up snare pattern hybrids of traditional Latin grooves, Rock and Hip-hop. 

  Right away, you notice something intriguing and unique about this band. Fifth Nation definitely has an appealing presence. The band dons the color white, and the hair is especially big. KJ wears tribal or battle-like lines and shaved hair on the side of her head, surrounded by her long brown and blue locks. Musik's mohawk is huge and would probably take anyone five years to grow, but it demands attention. Their recipe for elements is fresh, and their stage presence is natural, KJ especially demands attention with the combination of her voice, guitar playing, moves and looks. Her conversation with the audience (or "stage banter" if you will) is a message of peace and connection, thanking the audience at one point and calling everyone family. Songs like "Fight a War" and "I'm in Love" suggest that Fifth Nation is about fighting for something; that thing the world can never have too much of. 

  Doing some post-show fact-finding on the band, I found that they've evolved a bit into who they are now since 2009, and have definitely honed in on a sound of their own. They have quite a bit of shows under their belt as well. Talking to drummer Musik after the show, he mentioned that they have played over five hundred shows as a band. And sure enough, checking out their website here (see biography) you'll find a huge list of dates that they've played over the past two years. 

  You can probably catch Fifth Nation in NYC this month or the next, they're constantly playing live. Musik mentioned that sometimes they'll play one or two last minute pick-up shows on a given day, so head towards The LES, The Village, or W.B., Brooklyn and maybe you'll stumble upon this great band, as I did. 


Tuesday, December 6, 2011

The Lesser Ghost at Pianos (12/3/2011)

In the past I have gone to Pianos (on Ludlow street) to check out what sort of bands might be playing on a random night.  On any given night at Pianos you usually can find live music either upstairs or in the back room there, but this past Saturday was the first time I went there to seek out a specific band.  The Lesser Ghost is based out of New York.  They have played NYC venues such as The Studio @ Webster Hall, The Living Room, The Delancey, and Spike Hill (among others) over the past year.  The group has one EP to date that was released last April, but is halfway to completing a full-length debut album.  They give the EP away for free at their shows, but it can also be found on iTunes.  After the show, lead singer Ben said that the EP was a bunch of guys getting together as a band and recording to see what they could do, and then they would grow from there.  The way they played on Saturday night though, sounded less like a group working on their first full length album, and more like a veteran group that had been on the scene for much longer.  

 During the ten-song set, the Lesser Ghost brought a packed room of spectators through the highs and lows of rock n’ roll.  The five-piece band had great dynamics, with complementary components and riveting guitar solos.  They are influenced by traditional garage rock groups of the past few decades, which was evident when they finished their set with a pulsating cover of the Foo Fighters’ “This is a Call” from their first album.  Aside from that cover, the rest of the band’s set list was full of originals.  The drummer Ryan mentioned that they haven’t played a cover more than once; which is good for a band that is evolving their own songs with every performance.  Additionally, it keeps the shows fresh, so fans won’t know what to expect.

While all the songs that the Lesser Ghost played were quite enjoyable, the group’s personality was equally enjoyable.  Fans cheered as each band member was introduced, and in return, the band was very personable.  Despite never meeting him before, I found Ben to give off the vibe like he was an old friend.  His brief monologues were both witty and natural sounding.  Other members of the band calmly added in jokes of their own, and at one point, Ryan stood up from his drum set, took off his vest and threw it to a member of the audience who proudly put it on to generate a cheer. 

Towards the end of the set, Ben said into the microphone that he saw a bunch of new faces that night.  However, by the way the group interacted with the fans, I got the impression that they also had a devoted following of fans that comes to every show.  I imagine more and more audience members decide to stay loyal to the group with each show the band plays. 

The Lesser Ghost plays again on Sunday January 8th at Rockwell Music Hall (stage one for an acoustic show).  I regret that I will be out of town for that performance, but I hope to see them after that when they play at Arlene’s Grocery on February 9th.  It only took me one show to become one of those loyal fans of The Lesser Ghost.  They are currently unsigned, but I can see that changing as they continue to play shows and with the release of their debut album, which they are funding themselves with ticket sales.  Some of the better music coming through New York City comes from unsigned bands.  It’s just a matter of seeking out the right bands and the right places to see them.  The Lesser Ghost is a prime example of what New York has hiding beneath the mainstream music scene.  Stay tuned later in 2012 for news of their completed album.  You will be able to find out information here, or on their website,, or from their Facebook page.

(an original photograph)
(an original photograph)
(an original photograph)
Listen to "In Time" by The Lesser Ghost:
In Time by TheLesserGhost

News for February

The Kills have announced that they will play a special 10th anniversary show at Terminal 5 on February 11th, 2012.  Jeff the Brotherhood will open for them.  Both are bands that we have enjoyed and covered in the past.  Get your tickets before they're gone.

Thursday, November 3, 2011

The Black Belles 11-1-11 at Santos Party House

Looking at the Black Belles, you wouldn’t think they were a band until you saw them pick up their instruments and play the hell out of them.  The group consists of four girls; each clad in all black.  Black dresses, black tights, black hair, black nails, black lipstick, and black hats.  But who are they?

The Black Belles are produced by Jack White, and have exclusively released their music through his Third Man Records label.  However, they have only released a handful of songs, with their debut album coming out on November 11th (***album now available). 

There have been questions regarding the musical potential of this mysterious group of girl rockers, as they appear gimmicky.  They hope to answer those questions with their forthcoming album, and four shows this November.  Their New York gig at Santos Party House on the lower east side was the first of these four shows.  However, this show was not their first appearance in New York.

Rewind to June 2011:  With just one single including a B-side under their belt, the Black Belles were temporarily put in the national spotlight.  Stephan Colbert devoted a weeks worth of episodes to music and bands, culminating with the release of his very own song, “Charlene II (I’m Over you),” which featured the Black Belles backing him.  The girls appeared on National television backing Colbert on the song, and then again the next day in front of a live crowd at High Line Park.  The Third Man Records rolling record store (like an ice cream truck that sells records) sold 150 limited edition red white and blue 7” records with the A-side as Colbert’s song, and B-side was the Black Belles own version, “Charlene (I’m Right Behind You).”

Then this past September, their debut album was announced, and their first single from the album, “Honky Tonk Horror” with the exclusive B-side “Dead Shoe” was released.  Now their full album can be streamed online in anticipation of its official release in vinyl, CD, and MP3 formats.

At their New York City show, the girls appeared as a much more experienced band than could be expected of them.  They played with confidence, and were far from timid with their instruments.  The venue was been small and hazy from the fog machine, but the Black Belles’ sound dominated the room.  The undertone of several of their songs sounded as though it evolved from a 1960s style surf rock, but then the overtone was a gothic-rock sound with howling vocals.  The girls could really play, and put on a very interesting show.  One fan got so excited that he stripped down to a pair of black briefs, and tried to crowd surf—though nobody caught him and he hit the ground with a thump.  Unfazed, he went to the bar, got a drink, and tried again with another floor hitting thump.  The rest of the crowd, while not necessarily rowdy, seemed pretty into the group.  Once their album is released, and they begin playing more shows, look for The Black Belles to gain more exposure in the future as their sound evolves and appearance remains unique.


(an original photograph)

(an original photograph by Jeff Czaplicki)
Here is a sample of the first single off their debut album:
The Black Belles - Honky Tonk Horror by Third Man Records

And here is the video of one of their earlier songs:

Monday, October 31, 2011

The Black Lips at Webster Hall 10/29/2011

 Hell froze over this past weekend at the “Hell at the Hall” concert featuring the Xray Eyeballs, Davila 666, and the Black Lips.  An unimaginable snowstorm wrecked as much havoc outside as the bands did inside.  Regrettably though, delays in public transportation caused me to miss the first two bands that were said to have put on good performances.  I got to Webster Hall just in time to see four police officers take the stage, but these were no regular policemen; they were indeed the Black Lips in Halloween disguise.
            The Black Lips are notoriously rowdy; they’ve been chased out of venues before, and its been rumored that they’ve been chased out of countries (having done unique tours in Middle Eastern Countries).  In an interview last week though, they admitted to have read their Wikipedia page recently and confessed that 90% of what was written is crap.  Nevertheless, they are still known as a rowdy live act.  Coming from Atlanta, they are a punkish lo-fi garage rock band whose sound has become more polished over time.  They took a more professional approach to their recently released album, Arabia Mountain, by working with the grammy-winning producer Mark Ronson, who has produced a diversity of artists such as Amy Winehouse (Back to Black), Adele (19), and Nas (Untitled) among many others.  
            However, that does not mean that the Black Lips played a polished arena-rock-like sounding performance.  They were raw, loud, and rugged, while yelling and jumping around stage—just as rock n’ roll should be.  They played several new songs, some older songs, and some way older songs, including the first song they wrote, “Too Much Monkey Business,” which they closed with.  They included staples of their past shows, such as “O’ Katrina,” “Hippie Hippie Hoorah,” and “Bad Kids,” which is probably their most known song and featured in the Movie (500) Days of Summer.  They took the early song “Dirty Hands,” which is a slower acoustic song, and amplified it for a faster paced live performance.  For the sake of Halloween, they also included a cover of the song “Jack the Ripper.”
            Meanwhile, in the crowd, amidst the spooky noises and howling, many people were dressed up in their Halloween costumes, and were looking to get rowdy and jump around.  There was some beer sprayed, empty cups thrown, rolls of toilet paper unraveled and sailing through the air; none of which is out of the ordinary for a Black Lips show.  For several songs, fans up close were encouraged to get on stage and dance (or do as they please).  People in costumes were constantly climbing up and jumping into the crowd to do some crowd surfing.  Members of the band were not about to stop one girl that came on stage to give them mini make out sessions in the middle of a song.
            After a highly energized night, and twenty songs by the Black Lips, it was time to say goodbye as the goblins and ghouls were released into the streets of New York City.  The merchandise table included the band’s records on vinyl, and a limited edition t-shirt for the “Hell at the Hall” event.
            The Black Lips are definitely a band worth seeing, especially if you are looking to let loose and jump around a bit.  They are a prime cornerstone of the garage-rock genre, and stay true to their tunes.  While their sound has become more polished, they have done so without transitioning their style to a slowed down arena-rock style like other bands have, even after six albums.  


(an original photograph by Sara Stewart)
Key Black Lips track "Bad Kids":
Black Lips - Bad Kids by purpleplaid

Tuesday, September 20, 2011

Ny Gets Live Goes to Nashville for the Raconteurs! 9/15/2011

Something motivated us to drive to Nashville and back in 3 days—it was Jack White and the Raconteurs. With only a handful of shows announced by The Racontuers (none in the NY area), NY Gets Live just had to travel outside the usual territory. Playing their hometown in Nashville at "The Church," or “The Grand Ole’ Opry,” or properly known as The Ryman, it was their first appearance since 2008 with the exception of a small intimate warm up show the night before at Jack’s own Third Man Records. With two other acts opening the show—Pokey LaFarge and Jeff The Brotherhood—we knew it would be a night to keep in the memory box.

Walking into the sold out show (which sold out in minutes) at the Ryman was like taking a step back in time. Built around 1892, this venue holds true to what some call "The Church" maybe because of it's rich atmosphere, wooden/church style seating, and old fashioned decor. To me, it seemed to be the most fitting place to go and celebrate some Rock 'n Roll. In this small 2,000-person venue, the acoustics are raw; aged like fine wine, like that old Cadillac that no new model can ever really replicate. With its mostly wooden interior, tall ceilings and half-oval seating layout, it’s a unique sounding room for any of you acoustics-nerds to add to your bucket list of venues to experience a show in.

The first act, Pokey Lafarge, added to this sense of "Old Fashioned". He himself is an Early American Music Traditionalist, right down to his stage presence. Pokey and his band, The South City Three, are a throwback to rag time, bluegrass and old country. Complete with Harmonica, stand-up bass, hair glue, suspenders and retro blue collar suites, these guys set the tone for feeling like we were somewhere back in the 1930's. I could sense that this act was there was on purpose to give the audience this feeling and I remember thinking it to be clever.

Jeff The Brotherhood was up next and both guys are actually brothers! Jake and Jamin Orrall, also from Nashville, are a rock duo reminiscent of the Black Keys or The White Stripes. If their name sounds familiar, it is because we recently covered them at another show, but this performance was in a much more fitting atmosphere then before. (You might want to get used to their name, because this is a band that is only gaining momentum, and they have an upcoming single to be released on Jack’s Third Mad Records label along with Pokey Lafarge). The Brothers had a twin look going on with long hair, t-shirt and jeans, mixed with the sound of loud-fuzz guitar and punchy drums—a fresh and almost a complete contrast to what Pokey had to offer. They are an obvious nod to Jack White’s now departed duo, which paved the way for many rock-duo's success today, yet undeniably giving it their own touch -This, I thought, was also a clever tribute to tonight’s theme.

I was magnetically drawn to Jamin Orrall’s drumming, his momentum and drive as a drummer hooks you in and doesn't let you go. I kept focused on it for most of their set. His Brother Jake seemed to watch over his shoulder for the most part and rode his groove like a surfer on like a wave, holding his own adding color and dance to the music. He walked into the crowd during the set, as he tends to do regardless of the venue, strapped with a signature clear-bodied electric guitar.

When Brotherhood had finished and left the stage, you could feel the buzz of anticipation in the air. The Raconteurs appeared soon after and opened with the song "Consoler Of The Lonely," a fitting opener with Brendan Benson and Jack White pounding out twin guitar riffs through the lyrics expressing boredom and self decay, a woolly message to the audience expressing their desire return to the stage for the first time since 2008. It only took one signature guitar string-bend from Jack White to cause a crowd eruption; right then it was the point of full throttle. For anybody who hasn’t seen Jack on stage before, he has a stage presence that is unique and magnetic at the same time, and yet the band has such great chemistry.

Jack was like a kid in the candy store with The Racontuers; something I sense he couldn't achieve when he played with Meg White, who served more as a simple compliment to his style. The Raconteurs are a fuller, colossal rock sound with keys, bass, drums, two guitars and vocals; it seemed like we were watching Jack White after he had left the attic and his "sister" (i.e. The White Stripes) to go outside and play with the big kids. He moves around the stage and seems to motivate the rest of the band. Though, as Brendan and the rest of the band's stage demeanor is tame opposed to Jack's, Brendan's voice is dominant and his guitar sound is equally as powerful to Jack's "crunch". The two together are the main ingredients in the recipe for the sound of The Raconteurs. Their music is a style of Classic Rock with a twist of heavy guitar riffs and snarly dual vocals cleverly orchestrated, with a punk rock attitude. Add to that, a punchy/loose rhythm section with Jack Lawrence and Pat Keeler, along with Dean Fertita's (Queens Of The Stone Age, The Dead Weather) dark and spooky touch on the keys, to create more "vibe" to the music. They are indeed a dynamically rich band and their performance was top-notch.

Highlights in the set included a favorite off of their first album "Level," which hearing live, features a louder, heavier guitar sound than on record. “Broken Boy Soldier,” which was also played with more intensity then on the album. Midway through the set, a horn section came out for “Many Shades of Black” followed by "The Switch and The Spur". Dropping down to close out the first set was the slower tempo "Blue Veins". They came out for the second set with the fast pace, quick singing song “Salute Your Solution” followed by the more mainstream hit "Steady As She Goes."

The concert felt like it was over in a short amount of time, as everybody in the audience seemed to want them to play through the whole night. With the taste of beer and whiskey throughout the night, it seemed to come quick when Brendan said “this is going to be our last one, OK?” and the band began to play “Carolina Drama” to close out a spectacular show.

I may have seen a few dozen great concerts in my day, but none would ever match the atmosphere I experienced on this night at The Ryman.

-Written by RTM.
  Contributed to by JKS.
  **Check out our Facebook page for additional pictures.

(an original photograph by R.M.)
(an original photograph by R.M.)