Review: Medeski Martin and Wood @ HOB, 11/13

As I entered the House of Blues on November 13^th, Medeski Martin and Wood sat unassumingly on stage, practically dwarfed by their setup – John Medeski hunched over a gigantic keyboard contraption, Billy Martin tinkering with a loaded drum kit, and Chris Wood between them, upright bass in hand. Once the trio started to play, however, opening with a lively rendition of “Flat Tires,” there was nothing low-key about their presence. MMW played an electrifying show, rocking the House of Blues until almost 1:00 a.m.

The group moved seamlessly between songs, deftly swinging between jazz and funk in their extended jams. MMW teased the audience with these improvisations, dipping into arrhythmic, discordant sections that kept the audience on their toes before melting into yet another groove, during songs such as “Is There Anybody Here That Loves My Jesus.” The constant motion of the band’s performance kept the crowd’s attention riding high all night.

I was constantly bowled over by each of the members’ musicianship—together, Medeski, Martin and Wood delivered an incredibly tight performance, but they each shone solo as well. Billy Martin wowed the crowd with his drum solo following “Agmation,” while John Medeski’s work on the keyboard was nothing short of virtuosic. Chris Wood was impressive on both double bass and bass guitar; I was particularly excited to watch him playing slide bass, a unique and funky touch.

Though MMW played for well over two hours, the audience only seemed to grow in excitement throughout the show; even the encore, “F*ck You Guys” had the crowd in a frenzy. Medeski, Martin and Wood put on an impressive show that’s sure to be one of the most memorable at the House of Blues this year.

-Lana Tkachenko

Review: Islands Open for Psychedelic Furs @ HoB, 10/10/09

Syndicated from the writer's blog, http://archipelagogo.wordpress.com/!

Dear Nick (Thorburn, Diamonds, whatever),

Listen. I know you're really talented. I've accepted the sad truth that you know it, too. The Unicorns were genius. Return to the Sea was a turning point of epic proportions in the lives of college radio stations everywhere. I loved and defended Arm's Way even in the face of cynical critics who ripped it to shreds, claiming you "sold out." And I still hold that Islands' show at the El Rey during the summer of 2008 was hands-down one of the best of the year.

We get it: you're great.

I was even going to accept Vapours as the obligatory Under the Blacklight album of the band's evolution. But now...now, I have a serious bone to pick with you, and all over a simple, easily avoidable issue: your shitty attitude.

You're not the only musician to ever gain a cult-like following. In fact, I'd say there are a few other musicians who are worshipped a bit more for their songwriting abilities. So when even your live performances, which require a stage presence and an act that demands entertaining qualities, it's disturbing that you seem to find your emotional funk wildly adorable to everyone in the room.

Not only could we see on Saturday that you were not in the mood (yes, yes; we saw your tweet about having had a rough show in New York the night before), but it translated into an egotistical barrier that completely alienated 99% of the people in the room, including those (of whom I am a part) who came specifically to see Islands.

You did not want to be at the House of Blues, and sure, that's okay. But for god's sake, you're wearing white cutoff gloves with rhinestones you probably bejeweled yourself. ACT. And if you can't act, at least remember why you are a musician, because I pray (to whomever will hear it) that you didn't pick up a guitar because you wanted to be a god--you started a band because YOU LOVE MUSIC. So next time, when you feel like hating yourself and everyone else, don't let it affect the jam. "Swans" was great, because you and the gang actually seemed like you were enjoying yourselves. But honestly, I could've done without the rest of the zombified, dispassionate set. Where's the heart, Nick?

I don't want to see you fail. I know there's another Return to the Sea in you guys. And I know that your attitude can actually be kind of charming when you balance it with musicianship. That's why I say this. Because I can tell you that, even though I'm not one of them yet, there's a decent number of people who are quickly turning their backs on The Redeemable Nick Diamonds and His Band Called Islands. Do something about it.

Very sincerely yours,

Devon Maloney

Review: Lady GaGa & Kelly Clarkson 5/4 @ HOB

The Boston stop for the T-Mobile and Grammys sponsored Grammy Celebration Tour included performances by Lady GaGa and Kelly Clarkson, and was hosted by season 4 American Idol contestant, Blake Lewis. The exclusive concert, which fans could only win tickets to, was an effort to bring together different types of music under one roof. While the two artists seem like complete polar opposites in terms of songs and performance, the two came together to perform two fantastic sets that were the audience thoroughly enjoyed.

With Blake Lewis starting off as the DJ and beat boxing his way through big radio hits, the crowd got warmed up as a giant white curtain covered the Grammy-decorated stage. As Lady GaGa’s image was projected onto the curtain, the crowd grew wild and excited. It is interesting to note that despite a huge mix of different types of people and fans, the crowd was extremely respectful of each other. There wasn’t any pushing or shoving, and there were no fights to break up. As Blake Lewis wrapped up his set and the lights dimmed, Lady GaGa’s intro video played.



Lady GaGa, famous for hits such as “Just Dance” and “Poker Face,” had just been in Boston a little over a month ago for her own tour, The Fame Ball. While she didn’t have as many of her props with her, she performed her full set from the tour. The crowd enthusiastically sang along to every song, causing Lady GaGa to break out of her strange persona and smile at the crowd during her acoustic set. She had all of her crazy costumes, and put on a fantastic hour-long set. As she finished with an encore of “Poker Face”, the crowd immediately began to shout for Kelly Clarkson.

As Lady GaGa’s props were moved off stage and Kelly Clarkson’s band’s equipment was rolled onto the stage, Blake Lewis returned to his DJ podium. He also threw free goodies from T-Mobile out into the crowd. While his own song didn’t get too much attention, he succeeded in keeping the crowd pumped for the show.

The lights dimmed for Kelly Clarkson to the beat of “Walk Away,” one of her many hits. As she moved into “Behind These Hazel Eyes” and new single “I Do Not Hook Up,” it was clear that the crowd was even more into Kelly Clarkson than they were for Lady GaGa, screaming the songs louder than Clarkson at many points. She put on a very different performance to Lady GaGa – showcasing her voice, and only her voice. Her band also gave the show a lot more energy. After complimenting Lady GaGa’s set and singing a bit of Poker Face, she began her one of many ramblings during the concert. Clarkson’s natural ability to interact with the crowd was fantastic, showing her personable character and funny personality.



One of her many classic moments was when she grabbed a phone from a fan in the front and spoke to the person on the other line, saying, “Hey, what’s up? This is Kelly Clarkson.” She then continued by telling the crowd, “I always feel like a douche saying, ‘This is Kelly Clarkson.’” As she wrapped up her main set with Grammy Award-winning “Since U Been Gone”, the crowd jumped up and down in unison and screamed every word.


As she quickly returned for the encore, she exclaimed, “I hate this whole encore thing – pretending to leave when it’s pretty obvious that I’m coming back.” After taking a request from her hardcore fans at the front and singing hidden track “Chivas” from her third album, she wrapped up the show with #1 hit “My Life Would Suck Without You.”

As a fan of both artists, this was a fantastic opportunity to see both artists in their element. While it would have been interesting to see the two artists collaborate, they both put on fantastic shows that are worthy of selling out venues on their own. I would definitely see both of them again next time they come out to Boston, and with the sounds of the crowd singing every one of their songs still ringing in my ears, I expect that will happen quite soon.

- Chris Cheong

Lady GaGa with Cinema Bizarre, Chester French, & The White Tie Affair, 3/30 @ HOB

Lady GaGa described her debut headlining tour as a “creative orgasm”. While I wouldn’t go that far, her show was indeed amazing. My expectations were high, and I knew she would pull off a creative and entertaining show. Her one-hour set was preluded by three bands who I had never heard of.

Cinema Bizarre, a strange German rock band had a 20-minute set full of generic songs and awkward audience participation attempts. However, the drag queen behind me was loving it. The band failed to excite the GaGa-crazy crowd and the set was changed for Chester French.

The band Chester French, made up of Harvard U. graduates, had an amusing style, with a lot of strange dancing and instrument use (he took out a triangle and a cowbell at one point). Their passion showed through their 30-minute set, and the lead singer even broke his tambourine at one point. Their single, ‘She Loves Everybody’ was pretty well received by the crowd.

By now, the crowd was getting angsty for the Lady. Three support acts is definitely way too much. An fight broke out between annoying little girls, uncomfortable mothers, and the angry drag queen as the stage was reassembled to accommodate The White Tie Affair.

The featured support slot belonged to The White Tie Affair, an emerging pop/rock band signed to Epic Records. Their fun set included glow-in-the-dark, vocoders, and covers of ‘Heartless’ and ‘Love Lockdown’ by Kanye West. They were entertaining and well received by the crowd as they tore through their 45-minute set. After they finished with their latest single, ‘Candle (Sick and Tired)’, a curtain fell with an image of a goddess-like Lady GaGa holding her disco stick.

The anticipation was huge at this point. Shouts of ‘GaGa! GaGa!’ resonated through the crowd. Around 10pm, the curtain fell and The Fame Ball began with a strange pop art video called ‘The Heart’. As the screens moved away, Lady GaGa was revealed, singing ‘Paparazzi’. The crowd shouted back every word as she quickly moved through her set of fun pop songs.

After two costume changes and a sing-a-long interlude hosted by DJ Space Cowboy, Lady GaGa emerged in what is one of the weirdest costumes I’ve ever seen – a bubble dress. However, it was during this set that Lady GaGa’s true talent was shown. She played ‘Poker Face’ and new song ‘Future Love’ on her bubble-filled piano, filling the venue with her unique voice. The passion she feels about her music really showed during this set.

As she closed up the set with #1 hit “Just Dance” and an encore of “Boys Boys Boys” and “Poker Face”, Lady GaGa put her all into the performances and went wild with the crowd. After giving the audience a confident stare, the show ended.

Lady GaGa put on one of the strangest and most creative shows that I have ever attended. It was a big party full of fun music and wild stage antics that made the crowd go crazy. While the show was a bit short, I enjoyed every second and have grown to respect her more as an artist. She is amazing at what she does, and I’m excited to see what she’ll come up with next.

-Chris Cheong
Photo Credit: Marian Hwang

Review: The Disco Biscuits @ HOB, 2/28

Let me tell you about the climax. It involves lights, an enthusiastic crowd, and four men playing trance-fusion style music on the bass, guitar, keyboard and drums. I am speaking, of course, of the Disco Biscuits, who played a sold-out show at the House of Blues on Saturday, Feb 28. The best way I can describe this particular Bisco show is that it wore me out, in the best sense of the term. The entire night felt like a journey—Marc Brownstein (bass) and Allen Aucoin (drums) kept me anchored to my surroundings while Jon Gutwillig (guitar) and Aron Magner (keyboard) transported me into a trancelike state.

It all started with the first song, “Uber Glue,” off their new album, which comes out later this year. Unfortunately, the line to get into the House of Blues stretched around the block and I had to strain my ears to listen through the doors. During my interview with Gutwillig two weeks ago, he mentioned that the band would be playing new songs on their winter tour and I was upset I missed it. From what I could tell, however, the song got a phenomenal reaction from the crowd.

After “Uber Glue,” Bisco got right into their dance fusion with “Astronaut,” a fast-paced song that shows off Magner’s insane keyboard skills. Dance parties were erupting all around me, as I stood in awe of the band’s ability to keep up. There was a reciprocal relationship between the energy of the crowd and that of the band. As Bisco rocked out, the audience became animated, encouraging the band to take their sound to a higher level. Eventually the level of energy would reach a peaking point, but instead of letting up the band kept playing, sending the crowd to new heights. While most bands have songs that last somewhere between three to five minutes, Bisco jams can stretch as long as twenty. The first set lasted almost an hour and a half but consisted of merely six songs.

By the time Bisco played “Astronaut”, which segued into “Digital Buddha,” I was wiped out. It seemed like all of the songs the band had played so far culminated in the last few notes of “Buddha.” I began to notice the diverse group of Bisco fans I was dancing with and it made me appreciate the variety of lifestyles the band brings together. To my right there was a group of PBR-drinking bros, to my left a bunch of hippies, and in front of me a pack of rave kids, fiddling with their glow-sticks; but here we were all rocking out to the same music. The first set ended on a high note and I was glad to have some time to rest before Bisco took the stage for another mind-blowing performance.

The set break, however, lasted for what felt like hours. Although there was a DJ playing in order to pass the time I, along with the rest of the crowd, became anxious for Bisco's return. Finally, over forty-five minutes later, I heard “Shelby Rose” begin to play as the lights dimmed. The crowd went wild all over again. During their second set, Bisco drew down their crowd with a low-key yet still energetic vibe. “Shelby Rose” melted into “The City” (one of the crowd favorites) and then back to “Shelby Rose.” This method of jamming songs into one another is a traditional Bisco method. In my interview with Gutwillig he told me that “it makes it more fun for us to make different set lists and jam songs into different songs. It keeps things interesting.” It also makes the show a more stimulating experience for the audience due to the unpredictability of when a song will end and another will begin.

Bisco kept the audience hanging on throughout the entire set, maintaining the peaks and dips that so thoroughly rocked the first one. I enjoyed hearing their famed cover of Pink Floyd’s “Run like Hell.” They took a jam perspective on a dark track and it worked wonders. I saw some of the most provocative dancing during this song in particular. The next two songs were a bit slower and almost brought the show to a close. Although the songs weren’t unsatisfying, they put me in a dreamlike trance that made it harder to concentrate on the music. While my mind was wondering, I barely noticed that Bisco had left the stage and come back for an encore.

An energetic continuation of “Basis for a Day” from their first set got me back into a grooving mood. I enjoyed the lively tone of this song and got excited for when “Aceetobee” began, ending the show. The lights were at their most dazzling, the crowd was at its most frenzied, and the band had finally reached their climax. As soon as Bisco got everyone in the theater to come to a musical peak, Acoin hit the drums, one, two, three—and, just like the concert was over. I could feel relief tinged with disappointment in the audience as I gathered my coat and walked into the cold night. The Disco Biscuits had put on a show that will likely be a topic of conversation for years to come.

-Lana Tkachenko