Show Review: Dashboard Confessional @ Neumos

Dashboard Confessional‘s “Swiss Army Romance” 10th Anniversary tour is the first all-ages show, as far as I recall, that I’ve had the privilege to attend at Neumos. There just aren’t that many all-ages club shows anymore so it was nice to see Dashboard letting the kids in on the fun. When I arrived half an hour before the doors opened there was already a sizeable line to get in. The show was sold out and Neumos was packed with new and old fans alike. The bill was four deep. All four acts were mostly acoustic allowing for smooth transition and minimal downtime. It kept the show moving at a brisk pace.

Shortly after 8 p.m. John Lefler took the stage to play some acoustic cuts from his 2009 album, Better By Design. His jangly guitar/piano pop started the show off on a positive note. His set was only about 20 minutes long but a couple of songs that caught my ear were “Lucy” and the title track, “Better By Design”. In addition to his solo career, Lefler has also been a member of Dashboard Confessional since 2002.

The next band, and for my money the best opening act of the night, was Lady Danville. They have a fun, musically lighthearted sound that demanded the audience’s attention. Their ability to mix so many musical styles is admirable. They have a slight country tilt on some songs while others showcase piano based power pop in the vein of Ben Folds, who they just toured with previous to opening for Dashboard.

Chris Conley from Saves the Day was up third. He offered up an acoustic selection of Saves the Day songs. The acoustic renditions didn’t really add anything or lead the audience to any musical revelations that they couldn’t experience with the original Saves the Day versions. It wasn’t bad, it was just OK.

Neumos was packed for one reason and one reason only. Everyone was there to rock along with Chris Carrabba and celebrate the 10th Anniversary of Swiss Army Romance, the first album released under the Dashboard Confessional name. Because Carrabba was celebrating Swiss Army Romance and the album is largely acoustic, predating the full-band version of Dashboard, Carrabba took to the stage with no band, just his voice and his acoustic guitar. This solo acoustic show was anything but dull.

The first half of the set was dedicated to playing Swiss Army Romance in its entirety. “Screaming Infidelities” kicked everything off. I think the chorus is still stuck in my head. The show turned into a spirited sing-along with Carrabba stepping away from the mic several times to allow the audience to take over vocal duty. Carrabba was in fine vocal form. This being the first time I’ve seen him live I had no idea he had such a powerful voice and I can honestly say I was blown away.

Audience members kept yelling out requests with Carrabba informing that he was working off a theme and there would be time for requests later. After finishing his run through Swiss Army Romance he proceeded to tackle material from other albums. He tried to make up for the lack of a band by creating percussion sounds by hitting the body of his guitar.

Highlights included “The Places You Have Come To Fear The Most,” the explosive hit “Vindicated” from the Spiderman 2 soundtrack, the heartfelt love song “Stolen” and the driven “Get Me Right.”

Carrabba told us that he wasn’t going to go offstage and do any of the fake encore stuff, he was just going to keep playing. I thought that was a pretty cool thing to do and the audience probably got another song or two out of his set for it. His acoustic performance was amazing but in the future I’d like to see him play most of these songs while backed by the rest of the band. While he did just about as good a job as could be expected with just his vocals and acoustic guitar, some of the songs that were originally recorded with the full band just didn’t quite have the oomph that a full band would have added. All in all it was a great show and I’m sure I’ll have the chorus to “Screaming Infidelities” in my head for some time.

Review by Chris Senn

Photos: The Head and the Heart & Curtains for You @ Neumos

The Head and the Heart headlined a huge show on Friday night at Neumos. The concert came right after the announcement last week that they’d signed to Seattle label Sub Pop Records, and they had support from other Seattle bands Curtains for You and Lemolo. Enjoy some mighty fine photos from Alex Crick:


the Head and the Heart


Curtains for You

CD Review: Live It Up by Lee DeWyze

American Idol has introduced us to some amazing – and some not so amazing – vocal talent over the years. Lee Dewyze, the current American Idol, has a great raw voice and is a talented multi-instrumentalist, but the production on his latest CD, Live It Up is polished so slick that you could slip just by listening to this while walking. It clashes with his voice at nearly every turn. DeWyze would be better suited to record an album live with minimal production.

The genre of music is a little off-putting also. Most of the songs carry kind of a poppy John Mayer type sound. I personally think DeWyze’s voice would be better suited for a rawer, more soulful, New Orleans/Delta Blues type album. If he went the musical direction of someone like Marc Broussard instead of John Mayer I think he could turn out some great music.

As far as this album goes the production takes away from the impact of his voice. If you like John Mayer’s slow stuff, you’ll like this album. “Earth Stood Still” is a promising song but it’s overproduced to near death. I can’t really recommend much of this album because it sticks DeWyze in the wrong genre and I think it pretty much neuters his vocals. He’s capable of more and I’m sure he knows it.

leedewyze
Lee DeWyze – Live It Up (RCA)

Review by Chris Senn

Interview: Steven Ansell of Blood Red Shoes

Blood Red Shoes are a Brighton, England-based duo made up of Steven Ansell (drums/vocals) and Laura-Mary Carter (guitar/vocals). Their second EP, Fire Like This (follow-up to 2008’s debut EP Box of Secrets) came out in 2010. I recommend both CDs. Though they differ from each other they are excellent, forward chunks of British rock. I interviewed Ansell in December 2010, and I wanted to know about the band’s videos, how they met (which involved donuts!) and how they arrange their awesome songs.

What was the mood like on the set of the video for “Heartsink”?

Steven Ansell: It was quite strange actually. People travelled from a lot of places, about 6 different countries in fact, to be in the video – but most of them travelled either in pairs or alone. So there were 70 or so people who barely knew each other, and definitely had never shot a video before or had a director barking instructions. So it was amazing to see all these people gathered and find out what items they’d brought, but it was also really awkward.

In what ways do you differ from other contemporary British bands?

SA: Well I think there are other bands that come from a similar mindset to us, just not many. Generally speaking a lot of English guitar music (except for the metal scene) has been dominated by a kind of Libertines/Franz Ferdinand style which is really tame and limp to my ears. And those bands seem to go hand in hand with a quite commercial view on their music and a willingness to play the game, it’s all a bit careerist. We’re from a punk rock background; we’re just as ambitious as those other bands but we don’t want to soften our sound out or just do ANYTHING to get there. We want to make music that has good hooks but also something that has aggression and power and big fucking riffs. I think English bands can be a bit shy of that.

You two met in a donut shop? Where was it?

SA: It was on Upper Street, in London, near a few venues like the Garage.

What were your first impressions of Laura-Mary?

SA: My first impression of Laura-Mary was that she was the singer/screamer in this really cool riot grrrl band, and that she was way too cool to talk to me. Turned out she was just really quiet!

How did you find the director for “Light it Up,” James Lees?

SA: James Lees was awesome. Actually that’s my favourite video we’ve ever made. We felt like James listened to us and incorporated our ideas into the video, and the editing of the video, more than anyone we’ve worked with. He’s also the most expensive director we’ve used which is why we haven’t been able to use him as much as we’d like.


Laura-Mary Carter & Steven Ansell of Blood Red Shoes – photo by Steve Gullick

How do you decide which of you will sing each part in a song?

SA: It’s just instinct really. Usually the way we write, we’ll jam on a song and whoever starts singing first ends up singing those parts. Very occasionally we change it around – for example [in] “This is Not for You,” I originally sang the verses, but Laura did it better so we changed it around.

What kind of jobs did you have before you were in Blood Red Shoes?

SA: I used to work in a venue in Brighton called the Freebutt, doing the sound. Before that I was a cleaner. Laura-Mary did all kinds of jobs, working in shops, bars, offices – she would work for 3 weeks then have to quit so we could go on tour, then try to get another job as soon as we got back.

I read one of you has a philosophy degree -­ is this right? What did you find interesting about that topic?

SA: Yup that’s me. I don’t really know what drew me to that. I just find those sort of studies interesting. I was always really academic in school but I didn’t want to do a degree that had any practical application, I wanted to study something that would make me think.

You did semi-nude shots with Dark Daze. Would you do more of something like this? What would it involve?

SA: We did those photos a long time ago, with a friend, before our band was really known at all. The photographer had the idea and it had no relation to our band or what we are. I regret doing those photos because they won’t fucking go away and they don’t suit our band at all. They’re great photos, but it’s just not us.

What hobbies do you have?

SA: We both just live and breathe music, there’s very little outside of that. I mean we both appreciate film, and have been getting into photography recently. Laura-Mary was an art student before the band and she’s always maintained an interest in visual arts but we don’t really have much time for it!

How do you think the vocals differ between the albums?

SA: I think [on] the second album they sound much better. I mean, they have more depth to them and aren’t always buried in double-tracks. I think they sound more honest, and more emotive and a lot more like the “real us” than on the first album.

Did you make an intentional sound shift from more to disco to more rock in the two LPs?

SA: Yeh we felt like we didn’t really hit the mark as well as we should have with the first record so we put a big emphasis on getting our inner Led Zep across on the 2nd album. [for] A LOT of people the first album didn’t capture what we’re like as a live band; they said it sounded a lot more pop and less heavy and aggressive. So that was a big target for the 2nd album.

Would you use synths in any of your songs? Why/why not?

SA: We don’t set any rules about what we do or don’t use. We’ve written some new songs using keyboards although they’re not particularly “synth”-like sounds. Generally speaking that instantly conjures up images of nasty sounding cheap ‘80s sounds, which we are firmly NOT interested in. But we’ll use anything we think sounds good. We’ll never end up doing anything like the Yeah Yeah Yeah’s 3rd album though, we’re pretty firmly a guitar rock band, that’s for sure.

I read about you getting quite sick at/before shows ­ do you still get nerves like this?

SA: Actually it wasn’t nerves it was heat exhaustion, I used to get so hot from drumming and singing in tiny clubs, that I’d black out and puke a lot. I’ve got a lot better now – for one thing i can actually play properly now so i don’t get so worked up. I also invested in a couple of fans to stop me overheating [laughs].