That’ll do just fine.

http://www.youtube.com/watch?v=9_D14fDloWM

For you that didn’t have the time for the Broken Social Scene’s show at the “Majestic” (yeah, right) Ventura Theater on Tuesday, we’re not going to sugar-coat it (big surprise): you screwed up!!

Kevin Drew, Brendan Canning, Charles Spearin, Andrew Whiteman, Justin Peroff, Lisa Lobsinger (and her Bird-Nest-Medusa hairdo), and crew graced the grizzled grounds of the Ventura Theater on Tuesday, and majestic music ensued.  The audience left completely satiated after the band’s impressive two-hour-plus set of old and new favorites, including songs off their phenomenal “Forgiveness Rock Record” from last year.  In short:  despite the humble environs and turnout, Broken Social Scene proved why they are one of our best live acts.

We had waited ten long years to see Broken Social Scene (always being at the wrong place at the right time), but our patience was finally rewarded by a quick drive to the south.  We have gushed previously about the band and key members Kevin Drew and Brendan Canning.  Their songs are layered and labrynthine at times, and simple and mantra-monotonous at others.  But the lyrics and melodies never fail to convey the good souls of each songwriter.  This is a big-hearted band that delivers with passion and conviction.

Band leader Kevin Drew was engaging throughout the evening after getting off to a shaky start.  The medium-sized crowd, dingy surroundings and a few too many shouted crowd questions inquiring of the whereabouts of Feist (who got her start in BSS) and J. Mascis (of Dinosaur Jr.) didn’t help.  Drew was testy for a bit, but the crowd eventually won him over by about-shifting to attentive-and-involved mode.  Drew frequently equated the Ventura Theater and the scene to a gymnasium and high school dance (later demanding that there be some slow-dancing pairs on Lover’s Spit).  Drew’s surliness slowly succumbed as the devotees’ dedication crowded out the numbskull shouters.

The band came out and launched into its set with the rollicking Texaco Bitches. With its playful lyrics and intermittent screams and effects, the song was a gas-fueled drag-race that got the crowd running.  As the set evolved, more and more members drifted onstage until the stage was packed ten-strong.  Throughout the show the musicians musical-chaired ever-changing instruments, impressing with their varied and variegated virtuosity. Next up in their set was the driving, thriving 7/4 Shoreline, a clear crowd favorite.  Between the guitars and horns they filled up all of the air in the house.  After Forced to Love and Art House Director (featuring choreographed, Motown-esque dancing by the horn section), they raved into one of their great signature songs, Cause=Time.

The band’s 20-song set included great rockers such as Stars and Sons (with the crowd’s quick-clapping collusion), Fire-Eyed Boy (with its infectious chorus) and Superconnected.   And there were plenty of sweet slow songs to counterbalance the uptempo such as All to All (with Lobsinger’s seductive vocals) and This House is On Fire (which smolders a la My Morning Jacket).  And along the way we were treated to Brendan Canning’s song, Chameleon (with its clarion horns), Drew’s phenomenal, Feist-like song, Safety Bricks, and a rare cover of Apostles of Hustle’s Blackberry.

Eventually the band brought out the big song-guns and we were graced with World Sick (which was a perfect pre-Easter paean for our sick and, at times, sickening world).  And then as can be seen below, following Drew’s demand for couples to slow-dance, the band quieted the crowd (except those that were so moved as to primally scream out) and anointed us with Lover’s Spit, which was embellished with harmonica, melodica, harrowing horns and piano.  Canning and Drew were won-over completely during Lover’s Spit by the crowd’s slow-clap collaboration and reverence.  There were a few moist eyes in the audience until Drew leavened the heaviness by transitioning into U2’s With or Without You and then inexplicably singing “Chaka Khan.”  He then asked the crowd to “give it up for the boys” and thanked the slow-dancers.  Beauty.

They then emphatically employed a four-guitar attack and interplay on the instrumental Meet Me in the Basement, before Drew tossed off his regrettable Me and My Hand. The band having never left the stage, Drew then announced that “that was the end of the show, and this is our encore.”  And off they moved into a great cover of Modest Mouse’s The World at Large (see a rousing version below with both Isaac Brock and the meteoric Emily Haines joining).

They then made our night by playing Anthems for a Seventeen Year Old Girl about which we have written previously.  Lisa Lobsinger filled in well, the crowd whisper-sang and chanted along, the trombone broke hearts and a subtle “anthem” was graciously given.  Perfect.

After Anthems, Drew said “people usually end their shows with an exciting new song, but we’re not going to do that. Some people like to end shows with a song off their latest album… but… we aren’t going to do that either. We are going to end on a song we’ve been playing for ten years.”  He then stated the obvious, which comforted in these trying times:   “We are playing for a long time because you paid for it.”  And then they dedicated their 20th song (see setlists below) to a Santa Barbara couple who were long-time-fans and moved into their ending song this night, the rousing Pavement-with-horns of KC Accidental.

Kevin then prompted Andrew Whiteman to end the night with a joke, which he did, and then we left in the mist to head back to Santa Barbara.  It was our second great night of music in a row.  It doesn’t get much better.

You can watch a great 2-hour-plus video of the band’s recent Terminal 5 show in NYC here:

http://www.youtube.com/watch?v=8RPM9MOUN2I

Below is a picture of the Ventura setlist and then below that a full setlist that shows how they improvised on that list.

Photos by Lefort

The great young British band, Mumford and Sons, came to the sanctuary of the hallowed Santa Barbara Bowl last night and tantalized the crowd with its tent show revival.  They played with infectious joy and it wasn’t long before that fecund rapture raised the crowd right out of their seats.  The band was in constant movement and played as if end times were upon us.

Though there was only occasional drumming (several times played well by leader, Marcus Mumford, as seen below on Lover of the Light), the band pounded out a relentless beat interspersed with dynamic downshifts, only to shift back up to stomp-down.  Winston Marshall banged and body-rolled his banjo, Ted Dwayne beat up the bottom end on bass, the three-horns hectored, and Ben Lovett played the keys with flair and an unflappable smile.

But if there’s one image that captures the Mumford experience, it’s of Marcus strumming his guitar at the speed of sound to propel the proceedings.  It brings the house down every time.

The band repeatedly lauded the Santa Barbara Bowl and Santa Barbara, and they’ll be back.  Don’t miss it next time.

Below is the long setlist (they claimed their longest ever), which included a bunch of new songs and an Old Crow Medicine Show cover.

If you weren’t there, below is a good sample of the Mumfords live from Coachella on Saturday.  Check out Little Lion Man, The Cave (typical set closer), and great new song Lover of the Light.

http://www.youtube.com/watch?v=l2HD6hNNCNs&feature=mfu_in_order&list=UL

http://www.youtube.com/watch?v=gFOWlSCwRDs

http://www.youtube.com/watch?v=wRhqqTP8rJs&feature=mfu_in_order&list=UL

As for The Tallest Dylan Impersonator we’ll have to admit that he presents himself better live than on record.  He’s a very adept finger-picking guitar player and has some interesting things to sing.  And he covered John Hartford’s oft-covered (most famously by Glen Campbell) chestnut, Gentle on My Mind. We just wish we hadn’t heard it all before by the master himself.  TMOE should invite that stellar female harmonist on stage more often.  With some added elements and some Dylan-downplay he could grow a bit.

Finally, we admit that we were one-upped last night by a couple of enterprising lasses (Hannah and Chloe) who, at the end of the Mumfords last song, literally ran to their car and (carefully) raced out to UCSB to catch Ellie Goulding’s show at the UCenn.  Rave reviews followed.  Hats off on the Double.

Any doubters about Broken Social Scene might want to take a look at this video of the band at Coachella below.  Ventura Theater. T0morrow night.

http://www.youtube.com/watch?v=bYWURBertZY&feature=player_embedded

We’re a little slow, but just figured out that the Coachella Valley Arts and Music Festival is being broadcast on YouTube live each day, starting at 4pm. Today’s lineup: The National, Mumford and Sons, PJ Harvey, Angus and Julia Stone, Foster the People, to name a few. Check it out here.

Below is Warpaint doing Undertow.

http://www.youtube.com/watch?v=PTUMGVX4xNE&feature=mfu_in_order&list=UL

Today is Record Store Day around the globe. Santa Barbara’s Warbler Records is open today from 10am-6pm, and is having a free in-store at 4pm by local band, Cruiseship.

Artists around the world are propping and propping-up local record stores in various ways.  Radiohead (yeah, heard of ’em) today released a 12-inch with two new songs (“The Missing Limbs”?).  Here in the ole U.S. of A., you can’t get the vinyl yet but you can get the digital version.  Check the two new songs out below. The melodious Supercollider has us particularly energized, with The Butcher bearing some bounteous beats.

Radiohead–Supercollider

[audio:https://www.thelefortreport.com/blog/wp-content/uploads/Radiohead-Supercollider.mp3|titles=Radiohead-Supercollider]

Radiohead–The Butcher

[audio:https://www.thelefortreport.com/blog/wp-content/uploads/Radiohead-The-Butcher.mp3|titles=Radiohead-The-Butcher]

The new, highly anticipated Antlers record, “Burst Apart,” (the follow-up to their masterpiece “Hospice”) is set to be released on May 9th digitally on French Kiss Records. Check out their great new song, Every Night My Teeth Are Falling Out, below and then go over to their site and pre-order Burst Apart here.

The Antlers–Every Night My Teeth Are Falling Apart

And then check out (courtesy of Soundcloud) another interesting (somewhat tangential) Antlers song (Parenthesis) below.

The Antlers – Parentheses by Frenchkiss

If it’s even close to Hospice, Burst Apart could very well be 2011 Album of the Year.  Time will tell.

The night after we caught their phenomenal show at the Fox Theater in Pomona (more on that very soon), Bright Eyes nailed their song Beginner’s Mind on The Tonight Show as you can see below. At Pomona, bandleader Conor Oberst introduced this song by encouraging everyone to maintain their individuality in this modern world in which technology (iPads, iPhones, Tweets, etc.) can serve to entrap that individuality rather than enhance it. Listen in and up.

PJ Harvey and band performed the single off her phenomenal new record, “Let England Shake,” on Conan two nights ago.  Check out The Last Living Rose below.  Pardon the vain opening, but thereafter it’s 2-1/2 minutes of billowing bliss from Ms. Harvey.  We particularly like the guitar-work on the right later in the song and, of course, Ms. Harvey’s all-white cut-cardboard and feathers get-up.

Bear with the Pad PR for 30-seconds, and then enjoy. If you can’t take the Pad in the first version, then scroll down to the lesser-quality YouTube version and get to it.

http://www.youtube.com/watch?v=wukhWQgJJ5A

We’ve been scrambling on all fronts in this season, but managed to escape to Soho for some musical healing in the last week or so.

As usual, there have been highs and lows at the shows we’ve attended.

The clear high of all the performers was John McCauley (above) from the great band, Deer Tick.  McCauley salvaged a shambolic evening that began with the news that the mighty triumvirate, Middle Brother (consisting of the lead singers from Deer Tick, Delta Spirit, and Dawes, and backed by the great remaining Dawes members), had been reduced to one Tick (McCauley), one Spirit (Delta Spirit leader, Matthew Vasquez) and one Corndawg.  It seems the Dawes guys had received an offer they couldn’t refuse: backing Robbie Robertson on the Letterman Show.  We can’t argue with the allure, but having seen the result (Robertson all pancaked-up with a fresh dye-job ‘do and singing pedestrian, Clapton-induced blues tripe), we’re not sure the effect for Dawes was a net positive.  But we digress.

After a hilarious opening solo set by Middle Brother member, Jonny Corndawg (from Virginia), McCauley came out with his ever-out-of-tune electric Epiphone, and against all odds delivered great goods.  With gritty voice, focus and determination, he won the Soho crowd over with his fine songs, fervent vocals and fitting guitar accompaniment.  The highlight of the night was the requested-song, 20 Miles (one of the best songs released in the last year).  This song of undeterred love was even more affecting done solo by McCauley.

Deer Tick–20 Miles

[audio:https://www.thelefortreport.com/blog/wp-content/uploads/deertick20miles.mp3|titles=deertick20miles]

Unfortunately, McCauley’s salient set was followed by Delta Spirit’s Matthew Vasquez.  Vasquez came out and briefly wowed the crowd with solo-keyboard covers of Pink Floyd (standard at Delta Spirit shows) and Tom Waits songs.  And then the train-wreck ensued.  The crowd was next treated to a rambling, intermittently-screaming, between-song-snippets narrative of what can only be described as Vasquez’s Sordid Years (drugs, rock n’ roll, you know the drill).  Whether Vasquez was angry with the ridiculously-talkative crowd, or (as was suggested) has been affected by his recent marriage (may we recommend annulment if that’s the case?) or however you want to excuse it, this was foment and bombast at it’s worst.  And we’ve got lives.  So we left.  Likely our last Delta Spirit show.

A couple nights later, we were treated to a madcap, maddening set from Akron/Family who are touring  behind their new album, “S/T II:The Cosmic Birth and Journey of Shinju TNT.”  The new album title in many ways says it all about this band.

A/F is a bi-coastal band (NYC and Portland, where else?) known for its eclectic freak-and-funk, folk-prog attack.  Make no mistake, these lads are phenomenally gifted musicians, singers and songwriters, and they played with energy and aplomb at Soho.  They delivered a ravishing, driving version of River (listen to the song below) and then whipsawed throughout their two-hour set between folk-songs, funk rave-ups, jazz motifs, acappella transitions, prog-preambles and jam-band drivers, ultimately ending their set with their new funk-freak anthem, Silly Bears (listen below).  The crowd ate it up and were sated by sets-end (around 1 am).  There’s no denying the musicality of Akron/Family.  We wonder, though, how this band will make its way in the world long-term.  They are straddling many genres and doing it well, but we wonder how they will build and progress from here if they continue to dabble in and attempt to fuse all these genres without a more focused attack.  As you will hear, it takes energy and phenomenal flexibility in an audience to roll from the three-part harmony one moment into a three-part, discordant funk/prog melange in the next.  We consider ourselves pretty flexible and open to all styles and mixes, but the constant pivot, veer and zigzag is difficult even for us.  Time will tell for these talented, affable lads, but we wish them well.

Opening for A/F was the instrumental jam-band-ish band, Delicate Steve.  The band had some interesting moments, but ultimately begged the age-old question:  Can a band be great with a tank-top wearing leader? OK, we’ll give you Marley and Jimmy Cliff (it’s flippin’ hot and humid in Jam-Down!), but other than that?? Nah, we haven’t seen it either.

Akron/Family–River

[audio:https://www.thelefortreport.com/blog/wp-content/uploads/02-River.mp3|titles=02 River]

Akron/Family–Silly Bears

[audio:https://www.thelefortreport.com/blog/wp-content/uploads/Akronsillybears.mp3|titles=Akronsillybears]