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: Bassnectar @ the Paradise, 11/10

I found myself standing in the middle of a sweat bath. As I turned to check out the crowd around me, I noticed a girl crouched on the ground next to me, with her hands touching the floor. Out of nowhere she yelled, “it feels like the floor is going to cave!”

Earlier, as I walked into the Paradise on Tuesday, November 10^th, it seemed so serene—with only a few people smoking cigarettes and the bouncers flirting with the occasional passer-by—but on the inside a massive party was brewing. The entire floor of the Paradise was packed, making it impossible to move without elbowing someone covered in glow sticks. The stage emanated light and the floor shook from the sheer force of the bass. Who was the cause for all this madness? Lorin Ashton, otherwise known as Bassnectar. Bassnectar has grown in popularity, and his new album, Cozza Frenzy, has created fresh buzz within his fan base. He played to a sold-out crowd.

When trying to explain Bassnectar’s music it might be easy to compare him to the well-known DJ Girl Talk—both sample songs that are known for their catchy, dance-heavy beats. Bassnectar, however, has a unique method to creating his songs that focuses more on the underlying bass track of a song, rather than creating a mash-up like Girl Talk. His sound centers on heavy tempos that you can feel throughout your entire body. At a Bassnectar show, it is impossible to just stand around and bob your head; Bassnectar will force you to dance—for hours. This show was no different. For over two and a half hours, the crowd was enveloped by the Bass.

Bassnectar’s show at the Paradise was incredibly free format. He remixed old and new songs alike, in addition to playing entire tracks from his albums. “Cozza Frenzy” stood out during the show. As described by Lorin, the song is “an electro based song with a dup step beat and heavy vocals.” Bassnectar shows are addictively fun. It is possible to see him again and again and never get bored because of his huge repertoire of music. After getting through the playlist he had made for the show around midnight he announced, “You are all welcome to take the train home if you like but if you want stay I’m going to keep playing.” Not even one person stopped dancing or turned to leave. Bassnectar kept the crowd moving for another 45 minutes.

It is evident by watching Bassnectar on stage that his music means a lot to him. He uses projectors during his shows, which present not only "trippy" or hallucinatory pictures but pictures of soldier’s abroad, death, capitalism etc. The images are a powerful compliment to the music, exposing the audience to issues that Bassnectar would like them to think about throughout the show. During my interview with him, Lorin mentioned several times that he would like his music to lead to a social movement. He received a bachelor’s degree in community studies and uses his music as a vessel for change—offering an alternative to a faith based perspective. The next step for Bassnectar is convincing listeners to harvest the energy they get at shows to make a difference in their communities. To participate in Bassnectar’s community, and to download his new album, visit bassnectar.net.

-Lana Tkachenko

Concert Review: Thievery Corporation 10/26 @ House of Blues

As I was studying for a midterm on Monday evening, October 26th, I seriously considered skipping the Thievery Corporation show later that night. It was cold and drizzling out, and I was comfortably settled on the couch with a nice warm cup of coffee. Then I remembered last semester when I saw Thievery Corporation at House of Blues; the band had blown me away. Though it took a lot of energy, I somehow dragged myself out the house. As soon as I arrived at the House of Blues, the scent of incense and the first few notes of Garden State hit “Lebanese Blonde” enveloped my senses.

The band had a similar demeanor that they did last year: relaxed yet with an uncanny ability to make the crowd want to dance. [While Thievery is notable for having a rotating ensemble of players, the main cast of characters stayed mostly the same. Founders Rob Garza and Eric Hilton hung toward the back of the stage, mostly serving as DJ’s, with two drummers were on either side of them. Two horn players and a bassist completed the band, while a variety of vocalists performed solos. One major difference between the two shows is that instead of the two Jamaican main singers the band performed with last time, this performance featured a vocalist who toured with Femi Kuti this summer.

Thievery Corporation is known for their funky Brazilian jams, and these definitely came through. The band seemed to be having a good time and was particularly energized. They got they involved the audience into many songs by encouraging them to sing along. I was surprised that although they played hits like “Radio Retaliation” and “Amerimacka,” there was not much deviation from the show they performed in Boston in February. The lighting and backdrop were the same, and they even played the same songs. Thievery Corporation has not come out with a new album so I was surprised that they even went on tour. I thoroughly enjoyed the show but the entire time I felt like I was experiencing déjà vu.

Even though the show felt familiar, there were still a few songs that stood out. At one point, bassist Ashish Vyas sat down in the middle of the stage and began playing his bass upright. As always, he played without shoes, and seemed really into the music. The bass was so distorted that the audience could feel the bass vibrating in their chest. Vyas was a highlight of the show—his presence is incredibly animated on stage. In addition to Vyas, another exciting part of the show were the performances from vocalist LuLu, who sang “La Femme Parralle” and “Sweet Tides,” two hits of Thievery Corporation’s newest album, Radio Retaliation. The crowd seemed delighted with her tunes and she got the most applause at the end of the set. Overall, Thievery Corporation played a great show; unfortunately, it was a show that I had seen before.

-Lana Tkachenko

Big D and the Kids Table on Speak Easy, Girl!

Big D and the Kids Table will be on Speak Easy, Girl tomorrow (Thursday, October 15) from 2-4 p.m!



The Allston-based ska band will be talking about their do-it-yourself work ethic, their rise in popularity and that good ol' student newspaper we all call the Freep! Big D and the Kids Table is playing a two-night set at the Paradise on October 29th and 30th.

Blues Traveler @ Paradise, 10/6/09

When I saw that Blues Traveler was going to play the Paradise Rock Club on October 6^th I immediately did a double-take. I remember hearing hits like “Run Around” and “Hook” when I was a little kid but I didn’t realize that the band still toured. Intrigued, I bought a ticket right away.

The show kicked off with “Back in the Day,” off their sixth album, Bridge. John Popper wailed away on the harmonica, showcasing his remarkable skills. If anything, his playing has improved since the late 90s. He continued to showcase his technique on “How You Remember It,” a song from the most recent album, North Hollywood Shoutout. The band focused on heavy jams and fluid transitions between songs. They brought a specialized sound and lighting rig, transforming the cozy and comfortable Paradise into a full-sized amphitheater, which added to the intensity of the show.

Toward the middle of the set, Blues Traveler surprised the crowd by playing Sublime’s “What I Got.” As the audience began to sing along, I realized that everybody in the crowd was at least 30 years old. This contradicted what bassist Tad Kinchla told me during our interview last week about the band building up a younger fan base. I saw maybe five other people with “X’s” on their hands during the night. While reminiscing about their teenage years, a packed Paradise crooned “lovin’s what I got.” After the Sublime cover and taking an on-stage cigarette break, the band transitioned into popular four song “Run Around.” Even though “Run Around” seemed to please the crowd, I couldn’t get their smoke break out of my head. Why was it okay for a band to smoke on stage during a show but people were getting kicked out of the audience for doing the same? Despite my mild irritation, “Run Around” still brought back memories of driving in the car when I was little and of 90s TV specials, making me happily nostalgic. “Run Around” then transitioned into another song—“Support Your Local Emperor” off Blues Traveler’s second album, Travelers and Thieves (1991).

After “Support Your Local Emperor,” the band shifted to a new song about American troops, “Borrowed Time.” Tad had mentioned that the band consistently performs on USO tours and supports the troops. Although I found the song to be a bit slow, it was a worthy testament to military troops nonetheless. After a few more slow songs, Blues Traveler began to play “I Want You to Want Me.” The crowd roared. I had never imagined that a blues version of the song would sound good but it actually worked because the song was still recognizable. At this point in the night, I noticed many people began to leave the show. While Blues Traveler had opened playing to an almost full house, by the end of the show about a quarter of the audience had left. The concert was on a Tuesday, so I assume people either had work in the morning or Blues Traveler did not quite meet the standards the audience had held them to in the 90s.

The final song of the first set was “Hook,” one of Blues Traveler’s most popular hits. It pleased the crowd, and me. Everyone was singing and dancing along to John Popper’s exceptional harmonica solos. This would have been a perfect place for the band to end their set but like every classic 90s band, Blues Traveler came back for an encore. After a brief break, the band came on to perform last song, “The Path,” off of What You and I Have Been Through. The show ended a song earlier for me, but the fans that stuck around seemed to enjoy one more tune. Blues Traveler met all of my expectations during their show. They played a good mix of new and old songs and most of the crowd seemed to really bond with the band. Playing the Paradise was a good choice because it created an intimate, yet stadium-like feeling. In spite of the fact that Blues Traveler may not have been particularly innovative in developing their sound over the past ten years or so, they still put on a lively, energetic, and ultimately worthwhile show.

-Lana Tkachenko

WTBU Interviews: Future Rock

Recently DJ Lana Tkachenko caught up with the electronica/house band Future Rock. The guys are playing at the Summer Camp Festival in Chillicothe, IL May 22-24, so be sure to check them out if you're in the area.

Click HERE to listen to the interview!

Review: Evan Anderson Trio 4/27 @ Great Scott

This this past week has been high in tension and taxing, as the end of a semester usually is. But last night at the Great Scott, the Evan Anderson Trio’s sweet songs made my worries melt away—at least for an hour. It was like taking a nice drive on a summer day, with the windows down and the sunset in the distance. It was like having a picnic in Central Park when all of the flowers begin to bloom in spring. It was like watching leaves fall from the trees on a perfect fall day. It was every sentimental metaphor you can think of.

Even though the group is centered around Evan Anderson’s sumptuous vice and skilled guitar playing, the other members of the band contribute much to the sound. Eytan Nicholson, on drums, keeps the group together and tight. His interest in classical jazz can be detected through his drumming. Dan Puccio, on bass and sax, is the breakout star of the band. His sax solo during the last song of their set blew me away. The jazz interludes that the band goes into during some of the songs were my favorite parts of their set. Not to say that the rest of the songs were not entertaining, they were; but it is obvious the boys have some serious talent and can perform more complicated pieces.


That being said—I thoroughly enjoyed the show. The dynamic between the members is playful and amusing. It is obvious that they are all great friends outside of the band. I enjoyed the little quirks they add to the songs, such as clapping in unison and whistling. Its these details that separate the Evan Anderson Trio from your typical cute Berklee band. I especially enjoyed Dan’s dancing skills and Eytan’s goofy expressions. Evan seems like a good leader—aware of the rest of the band members yet aloof enough that he can still focus on himself. His lyrics and voice are perfect for each other. Listening to him sing, “Where are you my lonely stranger? I’d like to meet you,” during “I Don’t Have You” made me want to raise my hand and say “Helloooo…I’m right here.”

Overall, the show blew me away. I had just interviewed the band on my radio show earlier in the day and they got me excited to see them perform. And they delivered. I definitely recommend buying their self-titled album for only $5 by emailing them at evanandersontrio@gmail.com. You’ll need it for road trips, summer loves and for a quick mood pick-me-up. Also, the Trio often plays outdoor performances at Boston Commons and the Park Street T-station so be on the lookout for blond locks, red lips and a blue hat.

-Lana Tkachenko

Review: Keller Williams 3/27 @ The Paradise

From the first time I saw Keller Williams he has held a special place in my heart. In fact, he was the artist that stimulated my interest in jam bands and helped me discover an entire genre of music that I never knew existed. Since 2006, I have seen Keller at least twice a year and he has always put on a remarkable show. March 27th at the Paradise Rock Club was no exception. Here’s the thing about Keller Williams: I always can semi-predict what his show will be like, yet I am still blown away every time.


This time, Keller did change it up a bit by including an awesome stage set-up, an upright bass and a crazy instrument that I still can’t figure out. The stage was arranged like a guitar store; with almost every kind of guitar Keller owns hanging from hooks. There was a register that had a glass case full of pedals underneath it, signs that said, “You Break it, You Buy it” and price tags on all of the instruments. As per usual, there was a rug in the middle of the stage and Keller was shoeless—a little piece of Keller that will always be the same.

During the first set Keller played an unbelievable bluegrass cover of Pink Floyd’s “Another Brick in the Wall.” He also squeezed in Tom Petty’s “Last Dance with Mary Jane” that transitioned into “Breakdown.” Then as he began to sing, “This is a novelty song. It's the kind of song that means absolutely nothing at all. Please take my advice; tune out the words. And focus on the bass,” he busted out a huge upright bass. Out of all of the times that I have seen Keller before I have never seen him play an upright bass; it was a welcome change. After “Novelty Song,” he played a few more traditional songs and walked off stage for a set break.

Compared to the first set, Keller’s second set blew me away. The set break seemed to liven him up a bit and he was more enthusiastic. The fact that I moved up to the front of the stage also could have had some influence. When he played “The Joker” by Steve Miller Band and the crowd and I went crazy. Seeing Keller perform live is like no other experience. Most bands do not differ too much from their studio albums to the stage but Keller is completely different. He plays all of the instruments himself, using a recording device to record one instrument before moving on to another. Keller Williams onstage is like a kid at the playground.

There was one point during the concert when Keller brought out a box that was previously covered with a towel. It was like he was trying to hide it from the audience throughout the show because he did not want us to understand how it worked. It looked like a box with an input and output socket that made sounds comparable to a drum machine. Everyone, including myself, was confused by this instrument but we were all excited about the sound it brought to the stage.

During the second half of the show Keller played more covers than ever. It is typical of him to do at least one cover during one of his concerts but I was shocked that he played so many. He ended with “Best Feeling” and “What I Got” by Sublime during the encore. Overall, the show went quite smoothly. I thoroughly relish Keller shows and this one is definitely be in my top three.

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

Review: Thievery Corporation, 2/25 @ HOB

I don’t even know how to begin to recount my experience last night (February 25) at the Thievery Corporation show at Boston’s House of Blues. Thievery Corporation has been one of my favorite bands since I caught a 30-minute glimpse of them at a music festival a few years ago. The full-bodied, worldly sound that founders Rob Garza and Eric Hilton get from their rotating cast of musicians and singers got me hooked from the first song I heard. My goal since then has been to see the band play live, which I thought would be difficult to accomplish because they don’t go on tour often (they only have eight dates in the US scheduled so far). When I noticed that Thievery Corporation was coming to Boston, I jumped at the opportunity to catch the band in action and check out Boston’s new venue. I knew they would put on a good show but I was not prepared for their ass-kicking, adrenaline boosting, action packed set. Watching Thievery Corporation is like creating a really cool collage: there are so many interchangeable components—horn players, percussionists, singers, rappers, etc.—that create one larger picture. No matter how you fit the pieces together, they still reproduce powerful political statements mixed with incredible dance beats.
There was a general feeling of excitement well before the band appeared; the House of Blues opened less than a week ago, and the brand-new venue contributed to the anticipation. In fact, Thievery Corporation was only the fourth band ever to take the stage. The bouncers were all friendly and seemed excited, not bitter, to be working. And the security was not rude like often they are at Boston venues (*cough* Bill’s Bar *cough*). In the bathroom, they had beauty products, candy and an attendant. I couldn’t believe that during the current economic turmoil they would have such nice amenities.
After checking out the bathroom, I walked out into the huge concert space. The House of Blues was packed and I could feel the crowd stirring as they anxiously awaited Thievery Corporation. I was a little disappointed that they went on almost an hour and a half after the tickets said. However, once they began to play “Sound the Alarm,” the first song off their new album, Radio Retaliation, my spirits immediately lifted. The sound quality at the House of Blues is amazing. All of the instruments sounded crisp and clear; there was no distortion. No matter where you were in the crowd it felt like you were standing in the front row.
As I danced my way backstage I ran into a barefoot bassist who was jumping from foot to foot, nervous to go on stage. I couldn’t believe that someone who has probably played thousands of shows in his life was anxious about playing the House of Blues. As he made his way past me and onto the stage, the band began to play “Mandala,” the second song off Radio Retaliation. I was captivated by the sitar introduction and drawn in even more when the brass instruments filled out the melody. Then, Thievery Corporation brought out an amazing female vocalist to sing hit “Lebanese Blond”—a song many recognized from The Garden State Soundtrack. Her voice sounded so pure and resolute. The crowd, myself included, went absolutely wild. I didn’t remember dancing to Thievery like this the last time I saw them, although that was a brief encounter.
Other notable songs were “Le Femme Parallel” and “Sweet Tides,” both featuring vocalist Lou Lou. These are my favorite tracks from the Radio Retaliation album, so I was super psyched to see them live. Her French singing is sensual and soothing—if only I could've understood what she was saying. Another song that stood out was “The Heart’s a Lonely Hunter.” I love its catchy drum beat and chorus: “Welcome to my Spaceship/ You’re beautiful forever/ She’s right here where you left her/ And the heart’s a lonely hunter.” The band was grooving along with the audience. During “Coming from the Top,” the horns section got to show off their skills simultaneously as dancers awed the crowd. The band let front row fans go on stage and rock out to the beat. The dancing continued until the very last note of “Marching the Hate Machines into the Sun,” when the show ended.
I had finally fulfilled my long-time objective: I saw a full Thievery Corporation set. In addition, I got a chance to meet the band and discover that they are real people underneath this ethereal persona. While their set list choices were predictable, which was to be expected, as this is their Radio Retaliation tour, I really enjoyed the show. It showed off the skills of each member of the band, as well as their ability to sound as a unit. As for the House of Blues, it seems likely that this classy venue that won't hesitate to make its way to the top.

-Lana Tkachenko

WTBU Interviews: Jon Gutwillig of The Disco Biscuits

WTBU DJ Lana Tkachenko (Don't Panic!, Mondays 12-2pm) recently had the pleasure of chatting with Jon Gutwillig, founder/guitarist of the Wikipedia-defined "trance fusion jam band" from Philadelphia, The Disco Biscuits. Click here to hear the interview!

WTBU Interviews: Jones Street Station!

WTBU DJ Lana Tkachenko (Don't Panic!, Mondays 12-2pm) sat down today with Jones Street Station, the Brooklyn band opening tonight for Ben Kweller at the Somerville Theatre. Click here to hear their phone interview! In addition, a transcript of the conversation will be up soon. Stay tuned!

Review: Fujiya & Miyagi, 2/15 @ The Paradise

Who are Fujiya & Miyagi? As I looked around The Paradise Rock Club on February 15, I couldn’t place the bands demographic. Are they your typical hipster band from the UK, who just happened to get a break in the US? Judging from the amount of flannel wearing, thick framed 20 somethings they could be. Do they cater to the cultured, music elite where only those who are “in the know” are in the know? Judging from the amount of intellectual-looking, IPA drinking 26-year-olds they could be. As the band began playing, however, I discovered something truly amazing: Fujiya & Miyaji transcends all these stereotypes. Seeing them is truly a unique music experience.

Fujiya & Miyaji launched into their electric dance party with “Ankle Injuries,” off their 2006 album, Transparent Things. The song begins with singer/guitarist David Best whispering “Fujiya, Miyagi” 26 times over Matt Hainsby’s funky bass line. Before I made a conscious effort to dance I noticed that my head had already begun to bob to the beat. Best’s voice is one part dreamy, one part hypnotic. His classic “Oh, Oh”s, that sound almost like grunts, litter popular songs such as “Photocopier” and “In One Ear & Out the Other,” both from Transparent Things.

The ensemble, consisting of Best, Hainsby, Steve Lewsis (synths, beats and programming), and new member Lee Adams (drums), came together to deliver a low key yet dazzling performance. I often found myself intrigued by the experimental noises I heard emerging from the stage. Toward the end of “Kickerbocker,” off their most recent album, Lightbulbs, the band comes together to deliver an instrumental exploration that would get even the lay listener to shake it. Best and Lewis’s solo collaboration at the end of the song demonstrates Fujiya & Miyaji’s ability to make something out of nothing: they take traditional music and make it sound innovative.

Self-described as being influenced by 70’s German experimental bands and early-90’s electronic music, Fujiya & Miyaji have a ground-breaking sound that makes them stand out in a sea of UK bands trying to make it in the US. Adding Adams as a drummer definitely beefed up their sound, giving the band more of a dance-y feel. Case in point, the song “Collarbone” from Transparent Things sounds great on the studio album, but with the addition of Adams drumming the song sounds even better on stage. The unsung hero of the band (sorry for the pun), however, turns out to be Hainby, whose bass beats literally hold the band together. The bass lines unite the flow of the other instruments. The vibe between the band members makes it seem like the guys are having just as much fun playing as I am dancing.

With Fujiya & Miyagi, I never wanted the music to end. Their meager hour-long set made my heart ache a little when the show was over. However, I will admit that one reason that the set was so good was because they played only their best tracks. Though the band doesn’t need theatrics, I craved to continue being mesmerized by the videos of dice forming the band’s name and images of a losing Pacman game sharing the back wall with Adams. Fujiya & Miyagi has concocted a formula for success and their sound is compatible with all music tastes. I honestly believe that everyone can find at least one song they like and I look forward to the next time I get to boogie to their beats.

Check out their MySpace to see more tour dates or just to give them a listen.

-Lana Tkachenko