We arrived at the wrong time at Buffalo Billiards. There was a line. Actually three lines. And even the one for holders of elite "badges" was long. It so happens most people in line were trying to get in to see Bob Mould (of Husker Du fame) do a solo man-with-guitar show. I made it in to catch the end of his set and while it was solid, the club was so crowded he might as well have been an image on a television screen. Of course, after he finished the club cleared out and they let Kerry in too (she only had a wristband). A half an hour later, the Barsuk Records showcase -- our reason for being there -- began.
Rocky Votolato
First up from Seattle's Barsuk Records was Rocky Votolato (no, not Rocky Balboa) and his foursome (which includes his brother -- a detail that always charms me). They play what can only be described as "alt-country, folk-esque" rock 'n roll. And they do it pretty well. However, on this night, it took a while for the band to wake up. The drummer, though in time, seemed to be half asleep -- hitting his kit tentatively and nervously glancing at Rocky between each beat. Only after playing a few tracks off their new album did they finally settle into their set; only then did they begin to move with the music and to enjoy themselves. Smiles were in short supply from most of the band, and while their music isn't the peppiest, it isn't exactly a soundtrack for scowl. They were solid, though, and if I had been more familiar with their music, I might have enjoyed what seemed to be well-played renditions of strong songs. Only next time they should have some coffee before hitting the stage.
Jesse Sykes & The Sweet Hearafter
After Rocky Votolato didn't completely rouse the crowd with their folksy alt country stylings, Jessie Sykes and her band The Sweet Hearafter pushed their darker brand of alt country rock into moodier territory and put on an entertaining show. Sykes' brooding alto voice was impressively forceful, but her stage persona was just as serious. Sure, they'd just spent the last 6 weeks touring, but the audience had just spent the last two days standing. It seemed to take a bit push of a push for her to get into her own songs. Luckily, her band was tight behind her and held down a strong set. Regardless of how hard they played, however, Buffalo Billiard's sound system seemed to buckle under the strain. Sykes seemed constantly worried about how her band was sounding -- and rightfully so: it sounded like the band was playing in a high school gym. Muddle is all we heard. They strummed, they pushed, they moved around, but the more into it they got and the more they let the music take over, the less clarity and precision we could hear. It was a rumble. And I don't think the home team won.
Aqueduct
A preface to Aqueduct: though I haven't reviewed it yet for this site, I should mention that I received Aqueduct's new record, Or Give Me Death, and I absolutely love it. The Seattle band plays a style of pop music that is popular these days. They use electronic noises to enrich what is basically Brian Wilson style melodies -- melodies that are externally happy but drenched in emotional confusion. My favorite kind. Live at Buffalo Billiards, however, it was Aqueduct Vs. The Sound System of Horror. And Aqueduct didn't score many baskets.
What they had going for them: great melodies, an exceptionally tight drummer and one of the most thoroughly pleasing to watch frontmen around (he just seems to honestly, exuberantly happy!). What they didn't have going for them: their mixing board (by their own admission) was new and acting up, their set was disorganized (many samples were sampled at the wrong time (causing and unfortunate and sometimes distracting effect) and the sound system, again, made it sound like everything was being played through a car muffler. But oh they are a fun band! And it hurts me so to write negatively of their set! Really, they were still fun to see live, and it was easy to appreciate how into their music they got, how much fun they were having on stage, and how much they cared that things weren't going right. My reaction: I need to see them again under proper circumstances. Maybe again this festival, maybe the next time they stop by New York. But never again at Buffalo Billiards. No thanks.
Menomena
Menomena are one of the it bands of this festival (if you ask me), and of all the bands playing at Buffalo Bills, they fought the most valiantly against the sound system of shrek. Their fatal flaw, however, was that they spent almost an hour setting up and doing sound check. Half way through their spot-on set, the house lights went on and they were done. That was it. Bye-bye. Go home. It sucked.
Menomena's music is similar to Aqueduct in that they make use of a lot of electronic samples, syncopated rhythms, odd mixtures and quirky sounds. They also rely less on catchy melodies and more on squiggly saxophone lines and jumpy drums. However, they really were able to bring their obscure and active sound to life on stage. Their music seemed richer, more complicated and much more compelling on stage, and the trio was a real pleasure to watch. Like with Aqueduct, but for completely different reasons, I'd definitely make a point of catching them again soon. Only the next time, I might come late and skip the sound check (if they could promise to play for more then 20 minutes).