Saturday, January 29, 2005

Bright Eyes, CocoRosie, Tilly and the Wall / Academy of Music, Philadelphia, PA / Jan. 28, 2005

Before Bright Eyes even took the stage, a young girl sitting two rows back vomited all over the red velvet seats. I felt sad and embarrassed as her friends helped her out of the theater, and later when an usher came to clean it up. I know how it feels to be so nervous and excited about something (finally seeing your rock star crush in the flesh, maybe?) that you puke. The girl and her friends didn’t return, and neither did the five Abercrombie-and-lacrosse-team-sweatshirt-wearing guys sitting directly behind us, probably because their seats were soaking wet. I was looking forward to hearing the jocks’ commentary, to discovering exactly why they were at this concert. If Conor’s songs can get through to dudes who would have called me a scary lesbian witch in high school, then I have hope for this country. (Although we still have a lot of work to do: during CocoRosie’s set, Daphne overheard one of them saying, “Cool, that chick is making blowjob noises.”)

Tilly and the Wall—in case you don’t know—are five wholesome, adorable Omaha kids who play sunny indie pop, and their gimmick is that all the percussion is a girl tap dancing. I like it, but I’m a sucker. They were much tighter than when I saw them at the Mercury Lounge last summer, and, of course, the sound was much better. So the complete lack of low end wasn’t so apparent.

When I saw CocoRosie at South By Southwest last year, it was two white girls and a bunch of crazy instruments seemingly found in somebody’s attic. David Sitek from TV on the Radio beatboxed on one song. This time, CocoRosie was two white girls, a bunch of crazy instruments seemingly found in somebody’s attic and a large black man wearing a Native American headdress. He beatboxed on every song except the last one, during which he rapped in French and tap danced (accompanied by the Tilly tap dancer). I am not making this up.

How could Bright Eyes top that? They couldn’t. Or maybe I’m just jaded because this was my seventh time seeing Bright Eyes. (Is that weird?) Conor and his six-piece band played mostly stuff from I’m Wide Awake, It’s Morning, along with “Bowl of Oranges,” “Method Acting” and holyfuckingshit “A Scale, A Mirror and Those Indifferent Clocks” (yes, I’m a Fevers and Mirrors freak). He did “Lua” and “When the President Talks to God” solo-acoustic stylee and got all “rowdy” on the show-closing “Road to Joy”. They played for about an hour, and I think they wanted to play more, but some beefy guy came on stage right at 11:00pm and whispered in Conor’s ear, after which Conor said “Due to reasons beyond our control, this is our last song. They have to set up for The Nutcracker.” The funny part is that the last time I set foot in the Academy of Music, it was probably to see that very ballet when I was eight years old.

Personally, I’m happy that Conor is getting all this attention. He deserves it. I hope he sells millions of records and never leaves Saddle Creek, sells millions of concert tickets and never plays a Clear Channel venue.

After the concert, Daphne and I headed over to Transit for the rock and roll dance party Making Time. Death From Above 1979 were supposed to play but had to cancel due to illness or something (coincidentally, they were also supposed to play with Man Man in NYC on Thursday!) But it didn’t matter. Who needs a Canadian noise-metal band when you’ve got drunk Nick Sylvester waving devil horn hand signs above his head, jumping up and down yelling “WHOOOOO!!!” like he’s at an AC/DC concert every time the DJ spins a song he likes?

Thursday, January 27, 2005

Man Man / Mercury Lounge / Jan. 27, 2005

Need New Body: crazy dudes in crazy outfits with crazy facial hair playing crazy instruments in a crazy Zappa/Holy Modal Rounders/hippie drum circle kinda way. You’d think that formula would be unique, right? WRONG. Welcome to Philly, bitch. We got some wicked drugs here. Our sports teams never win, our school system was taken over by a private company, our subway runs on only one street and the mayor spent so much money on a wireless internet pipe dream, there wasn’t any left over to pay for snowplows. Why do you think we get so incredibly high we decide it’s a good idea to write songs with choruses like “meow meow meow meow meow” and “moustache moustache moustache moustache”? (That is, if our “songs” even have “choruses.”)

Which isn’t to say I don’t like Man Man. I mean, I like Need New Body; ergo, I like Man Man. The four band members wore all white. One guy had a skeleton sketched onto his shirt (just like the suit jacket Win Butler wore at the Bowery Ballroom! Now the whole Man-Man-opening-for-Arcade-Fire thing makes perfect sense! Oh no wait, it still doesn’t.) Instruments played/manmanhandled included trumpet, slide whistle, melodica, keyboards, umbrella and lots and lots of percussion. Animal masks were worn. I burst out laughing several times.

Coming tomorrow: More in the Monitor reviews Bright Eyes… for the third time!

Tuesday, January 25, 2005

Colin Meloy / Fez / Jan. 24, 2005

amy: i love doughy boys.
amy: now, colin seemed a bit less doughy than the last time i saw the decemberists.
amy: do you think this symbolizes imminent heartthrobitude? because i remember thinking the same thing when the postal service toured. and then BOOM, all of a sudden, ben gibbard = major heartthrob
caryn: He's not that doughy. I have to say, I kept staring at him thinking, wow, he wears a sweatshirt so freakin' well. That's always what I think I look like when I wear a sweatshirt, but I really look like John Goodman on the Roseanne show.
caryn: He also has a very, very sharp jaw line which contrasts very sweetly with his nerdy glasses. Kinda like Superman. Ladies love cool Colin.
amy: oh man, the ladies next to us were literally swooning. but how could you not?
caryn: I know. Breakin' hearts. Losing bikes. It's Portland's own Colin Meloy. Now, I don't want to get a reputation for always being about the Bad Audience Member (and I do think it might behoove (sp?) us to create another blog just for this purpose) but that lady at the next table is definitely in the running to win Most Annoying Person at an Intimate New York Rock Show. I know you didn't get to see/hear as much as I did, so let me recount.
amy: all i heard was when she yelled out "GRACE CATHEDRAL PIER!!"
amy: and colin was like "uhh... you mean grace cathedral hill?"
amy: and she was like "NO, PIER!!!"
caryn: So this lady. She looked normal, see. She had hipster glasses and hipster bangs and a hipster stripped shirt. But she was a wolf in hipster's clothing.
caryn: She may have been drunk and I may have detected a Slavic accent on her.
caryn: So what she did is this: there is generally always a person who shouts out things to the performer at a show. Usually this person is an uber-fan and it's annoying and sometimes endearing. So she was shouting out unnecessary things.
caryn: Such as...when Colin asked us to stomp our feet to create percussion for a song and then accused us of stopping to stomp, she shouted loudly (after a series of shouting loudly) "I didn't stop." And he wryly replied, "Of course you didn't."
amy: by the way, the song was "los angeles, i’m yours"
caryn: Now, fine, so she's a shouter. But, conversely, she talked really, really, really loud DURING the songs. A woman at our table (one of the swooners) stood up and snapped at her and mimed her to shut her trap.
caryn: Later, a guy sitting at her table looks at her and says simply "Could you please shut the fuck up?"
amy: what was her response?
caryn: She looked hurt, crazy and depressed. But did that stop her? No. Of all her crimes, however, this final atrocity may be the worst. She attempted to lift a candle, perhaps to hurl at Colin as a form of showing her love and support, and CAUGHT HER HAIR ON FIRE!! It smelled like ass. Colin even was like, "what's that smell." Tsk, tsk,tsk.
caryn: Okay, but enough about her. Let's talk about the music.
amy: other decemberists hits played included: "myla goldberg", "red right ankle", "my mother was a chinese trapeze artist", "apology song"
amy: there were also several selections from the upcoming album "picaresque." when he began playing "the sporting life," everybody clapped
amy: and he was like "you know this song? how do you know this song?" very suspiciously
amy: this leads me to the conclusion that the audience was comprised entirely of journalists and pirates.
caryn: The song he wrote to his friend whose bicycle he lost was awesome. I wish a friend would disappoint me greatly and then write a great song about it.
amy: after he played that, he remarked that the bicycle in question was eventually returned to its owner. but then loaded onto a bicycle rack on the back of colin's car. and then smashed into another car.
caryn:Agreed about the journos and plunderers. Now, Colin seems like a sweet, well-adjusted man. Yet, if you counted all the dead bodies in his songs, he'd be creeping up into Johnny Cash/Eminem territory.
amy: yes, but unlike johnny cash and eminem, he didn't kill all of them. it's more haley joel osment territory.
caryn: Do we know that?
amy: well, in one of the songs HE's the dead guy.
caryn: Colin Meloy definitely sees dead people.
amy: there is this totally awesome epic song about seeking revenge for causing his mother to die of consumption, so he sails the high seas looking for the sailor and then they have a showdown after a whale kills everybody else on the boat
caryn: So Colin did a few Morrissey covers. What did you think?
amy: well, uh, they sounded like decemberists songs. since i didn't know the originals.
caryn: I kinda wish he did more known Morrissey. He stuck with weird b-sides and stuff. I mean, Colin was meant to sing "You're the One for Me, Fatty."
amy:ok, can we talk about the last song of the night?
amy: never in my life did i think a cover of cheap trick’s “southern girls” could bring me to tears
caryn: I loved how he introduced it as an old folk song. It was very sweet.
amy: much like how he introduced "my mother was a chinese trapeze artist" as "an autobiographical song"
amy: also sweet: when the crowd sang along to the "i know i need unique new york" line in “myla goldberg”
caryn: I wish Colin would write a blatantly Portland song. I kinda teared up when he mentioned the Multnomah County Library. I could see that library from my old office.

so, how much do you want to punch the guy who reviewed the tegan and sara album for pitchfork today?

Saturday, January 15, 2005

The Dears / Mercury Lounge / Jan. 15, 2005

I was on the fence about the Dears—except for 2 amazing songs on the Protest EP—so I went to this hoping that the live experience would help me make up my mind. And it did. The verdict is: eh.

It bothers me when a band has only one female member and she’s the keyboardist. (Is it bad that it bothers me?) The Dears have two female members, and both of them are keyboardists. They both stood there looking pretty, pouting and not moving. The drummer’s tongue lolled around outside of his mouth while he played. The front man wore a ski jacket and had a copy of Black Like Me in his back pocket. At one point, he and the other guitarist stood very, very close to each other while playing. It looked like they were going to kiss.

There was a lot of delay on the vocals. The keyboards weren’t very loud. Of course.

I left after five songs. I was on the subway longer than I was at the show.

Thursday, January 13, 2005

Tegan and Sara/Bowery Ballroom/Jan 12, 2005

Since Amy and I are both reviewing this show for separate publications, we decided to publish our thoughts as hashed on IM rather than a traditional review.

caryn (10:09:07 PM): So T&S. did you like the show?
amy (10:09:34 PM): yes i did
amy (10:09:44 PM): they are very talented and very adorable
caryn (10:09:58 PM): did it change the way you viewed them? do you regret not pazzjopping them?
amy (10:10:13 PM): no
amy (10:10:20 PM): i still like everything i voted for better
amy (10:10:34 PM): but i realized that i love that "i hear noises" song
caryn (10:10:39 PM): I regret that you do not regret pazzjopping them.
amy (10:10:47 PM): haha
amy (10:10:56 PM): see, i can't pazzjop their cuteness or their stage banter
caryn (10:11:26 PM): i really think that's just a small part of it. i think they are excellent song writers/singers/musicians, the whole schmear.
amy (10:12:46 PM): but i still think ciara, eamon, jason forrest, etc. made better music than they did last year
amy (10:12:56 PM): though i agree with you
caryn (10:13:01 PM): You'll probably hate this, but i've compared them to Elvis Costello, Tom Petty and Fleetwood Mac. And I really believe it.
amy (10:13:18 PM): definitely more the lindsay side of fleetwood than the stevie side.
caryn (10:41:09 PM): So do you think the guy standing next to me was the most annoying man ever at a rock show? I'd like to nominate him for the VV Best of Issue.
amy (10:41:29 PM): no, i've experienced way more annoying people
amy (10:41:40 PM): like, people falling on me from drunkenness and yelling to each other throughout the show
amy (10:41:58 PM): and spilling stuff on me
caryn (10:42:40 PM): Ok, here's why this guy is worse.
caryn (10:43:04 PM): 1) Stood too close to girls, including me, as a way to cop a feel.
caryn (10:43:22 PM): 2) Shouted sexual things at Tegan and Sara, which was just gross.
caryn (10:43:38 PM): 3) Had a mullet. Ok, maybe that's not so bad.
amy (10:43:45 PM): at least he didn't touch us, which is what the drunk fall over guys do
caryn (10:43:55 PM): 4) Talked on the phone really loud during songs.
amy (10:43:57 PM): they use their instability as an excuse to feel you up
amy (10:44:12 PM): he also repeatedly asked if he was bothering us
caryn (10:44:36 PM): 5) Kept trying to engage us in conversation but kept saying the same thing..."their record is the most amazing record ever."
caryn (10:44:54 PM): I knew I shouldn't have whipped out that reporter's notebook and my gay pen.
amy (10:45:12 PM): well i didn't tell you what he said to me afterwards
amy (10:45:24 PM): which was "that was the best show i've seen since the white stripes at hammerstein"
amy (10:45:36 PM): and i said "well, it's a shame you couldn't hear all of it because you were on your cell phone"
amy (10:45:44 PM): and he said "i was just trying to share the experience!"
caryn (10:46:32 PM): Also, notice how he was trying to impress us by letting us know that he was a "stage hand." Oooh, does that help get us back stage? You're so my cherry pie, dude.
amy (10:46:45 PM): haha
amy (10:47:02 PM): i still think the guys that come and sit next to me while i'm sitting in the corner reading a book are worse than him
caryn (10:47:40 PM): Okay, enough about him. What was your favorite T&S stage comment?
amy (10:47:42 PM): like how can i send a bigger signal that i don't want to talk to you? sitting here READING A BOOK isn't getting the message across
amy (10:48:14 PM): hmm
amy (10:48:24 PM): the grandfather in the strip bar
caryn (10:49:20 PM): Right. She tells this long story about her grandfather and then ends it with, "Wow, I'm telling stories about my grandparents. This is like a Christian rock show." (Pause) "And so then we all went a got really fucked up."
amy (10:50:15 PM): oh yeah, the christian comment really made it
amy (10:50:29 PM): i wonder if those old people in the balcony were their family
caryn (10:50:45 PM): I thought that. But they seemed lame. Like label people.
amy (10:50:57 PM): one dude was talking on a walkie-talkie
caryn (10:51:25 PM): Rock-n-roll! So, what did you think about the audience, besides mullet man?
caryn (10:52:13 PM): It really was sold out. Which was nice.
amy (10:52:33 PM): i loved the couple where the girl was singing along to all the words and the guy was half massaging her back half beating out the rhythms of the songs
amy (10:52:57 PM): and of course the couple next to us where the one girl held up her ipod recorder the whole time and the other girl leaned on her shoulder
caryn (10:53:16 PM): Ooh, I missed them. There were a lot of girl couples who were more than little past foreplay on the floor.
amy (10:55:00 PM): yeah, not so many guys there.
caryn (10:55:01 PM): I thought that song "Where does the good go" sounded particularly awesome. Also, might I add that when Tegan plays the keyboards with her electric guitar strapped on and ready, it's particularly sweet. As in sweeet!
amy (10:55:57 PM): yeah, i thought the keyboards sounded great in general last night
amy (10:56:03 PM): the backing band was really, really tight
amy (10:56:09 PM): also, i learned to differentiate their voices
caryn (10:56:28 PM): Don't you feel personally offended when a band doesn't play your favorite song? Like something's wrong with you. Or them, for not liking the song as much as you. They didn't play city girl, which bummed me out.
caryn (10:56:42 PM): Really, how do you tell their voices apart?
amy (10:57:52 PM): tegan has the piercing, avril/alanis canadian tinge
amy (10:57:54 PM): sara does not
amy (10:58:03 PM): oh fuck
amy (10:58:06 PM): maybe it's the other way around?
caryn (10:58:07 PM): Do you think we could start a campaign to try to get Tegan and Sara on the OC to play the Bait Shop?
amy (10:58:21 PM): oh man, that would so rule
amy (11:02:46 PM): i liked how they wore matching outfits
caryn (11:02:50 PM): I kinda wanted to ask that girl who was recording it to her ipod if she'd send it to me. what's the manners for that kind of thing?
amy (11:03:08 PM): i have no idea
amy (11:03:12 PM): i guess you just ask
amy (11:03:06 PM): i wonder if their parents made them wear matching outfits when they were growing up
caryn (11:03:39 PM): They weren't really matching outfits. They both had black shirts on, but Tegan had stuff written on hers.
amy (11:04:01 PM): yeah, but they were cut the same way
caryn (11:04:14 PM): Man, I so wanted one of those t-shirts with pictures of them as plump, hairriffic three year olds.
amy (11:04:46 PM): haha yeah those were awesome
amy (11:05:00 PM): did you notice that the singer of the opening band had a tegan and sara haircut?
amy (11:08:31 PM): oh, the bass player-- did his shirt have a bunch of tvs on it?
caryn (11:08:46 PM): Hmm, didn't notice.
amy (11:09:09 PM): i really liked the design, but i couldn't tell what it was exactly
caryn (11:09:32 PM): Here are covers I'd like T&S to do...1) "Silly Love Songs"
caryn (11:09:49 PM): 2) ""Summer Babe"
caryn (11:10:03 PM): 3) "Stacey's Mom"
amy (11:10:14 PM): oh my god, stacey's mom!! that would be so incredible
caryn (11:10:50 PM): So, should we actually put this chat on MITM? Think people care?
amy (11:12:00 PM): we could put an abbreviated version
amy (11:12:13 PM): but the "think people care" question... i don't know, do they care about anything we put on there?

Monday, January 10, 2005

Amy's reading/Astor Place B&N/Monday, Jan 10 2005

It's official: Amy kicked ass.

Who was the voice of reason when the guy who happened to be the (cough, cough) EDITOR of the damn book made gross (in multiple senses of the word) generalizations about music he clearly hasn't even listened to?


Who didn't turn it into a Joe Strummer blow job fest and pointed out some criticism she got from women in the field?


Who was the best looking reader of the evening?


(I have to admit that the whole time I couldn't get that Sonic Youth song "Kool Thing" out of my head...I wanted Amy to take the Kim Gordon part and turn to Chuck D. and say, "Are you going to liberate us girls from the male, white, corporate oppression?" Word up!)

Some photographic evidence courtesy of Jason Gross and one self-portrait:




Saturday, January 08, 2005

Amy live...with Chuck D.

Amy's too shy to post something about this on here, so I will.

The young Ms. Phillips contributed a chapter to a book called Let Fury Have The Hour: The Punk Rock Politics of Joe Strummer, which was published by Nation Books last month (for more info, go to

On Monday, January 10th at 7:30 pm, she's going to participate in a reading at the Barnes and Noble at Astor Place, along with Antonino D'Ambrosio (the editor of the book) and Chuck
D. Yes, THAT Chuck D.

Be there.

Friday, January 07, 2005

Wreckless Eric / Knitting Factory / Jan. 4, 2005

By Jason Gross

When it comes to unexpected comebacks, you'd be hard-pressed to beat the Pixies now in terms of box office returns, but a scrawny, mewling little Englishman who barely made an impression in the States back in the punk days at least gets lots of points for having tons of heart. Part of the Stiff Records roster with Nick Lowe, Elvis Costello and Ian Dury, Eric Goulden was probably the label's least-known act, missing out on fame, money or even infamy. The Wreckless One did craft strange, offbeat love songs that were only matched by the Buzzcocks at the time--except that Goulden was way funnier. After a few UK hits, his star burned out fairly quickly, doing the odd album when inspiration struck him or he found a sympathetic label, finally 'retiring' and running off to France for a while and fighting off a drinking problem emblematic of most rock stars.

Goulden couldn't keep away from his music though, recently putting out his first record in six years, Bungalow Hi. Brought out to the tri-state area to participate in Yo La Tengo's annual Hannukah shows, Wreckless E took the time to arrange a few solo dates after that. For his Knitting Factory show, he was truly solo, strumming an ancient, barely tuned guitar. "How many of you remember the first record you bought?" he asked up. "I bet you're embarrassed by it!" he taunted us. He was and he sang about it: one of Joe Meek's studio projects, The Tornados. It's obvious why he had to come back to music at some point as he detailed in another song his break-up with a girlfriend which meant that they had to split up their 33's and 45's (remember when those were around?). Heartbreak is one thing but losing your records? THAT really hurts...

Being a true showman, he did regale us with some oldies from his Stiff days, like "Reconnez Cherie," "Semaphore Signals" and his first record (which he said that he recorded in a shed), "The Whole Wide World." Perhaps not accustomed to a rapturous reception, he reluctantly returned for a one-song encore, explaining that "I never realized I even had a catalog. I thought it was just a bunch of songs." Cute, touching and bizarre, it all comes naturally from a guy who titled his biography "A Dysfunctional Success."

Man in Gray/Southpaw/Jan. 5, 2005

We're starting out the new year with something a little different. Instead of a show review from the audience's perspective, today we present a show review from the band's perspective.

The band in question is Man in Gray. The band member is Christina DaCosta. In the spirit of full disclosure, I must tell you that I am personally friends with the lovely DaCosta and am a much better person for it. She is an amazing performer who swallows, stamps and spits out the stage without hardly breaking a sweat.

Man in Gray next performs at TISWAS on January 22. Christina is also a member of The Marks, a band that was reviewed here in October.

Our Show
by Christina DaCosta

On Wednesday I walked the two blocks to Southpaw and went to a rock show.

It was freezing rain and I was tired after a long and dull day at the office, but I had to go because I am the singer of Man in Gray and we had a gig.

You may have heard our name somewhere, as we do get some good press and play around NYC a lot, but it is hard to juggle since we are all (mostly) working stiffs trying to lead double lives of rock-n-roller and cubicle dweller.

This leads to many problems with getting gear to the gig, soundcheck (or lack thereof) and scheduling, but we keep playing because we love each other and our music and have a lot of fun.

The band consists of Jeremy (guitar & vox), Bryan (guitar and vox), Jeremiah (drums) and Jared (bass). We all get to hear what the band was like from the audience. What about the band? They have feelings too.

Southpaw is a great venue to play and if you're in a band, I suggest playing there just to get into the nice backstage (basement) area. You can smoke and drink, play Ms. Pacman and explore the drawers of a dusty dresser that contains two humongous aerosol cans of Aquanet hairspray. It's also fun to hang out with the other bands in a relaxed setting where you all know that you are in the "exclusive" backstage area. Sometimes, it's nice to feel that way, even though the last time we played there, the lounge area had garbage pail full of beers and water bottles. Luxurious!

Upstairs, where we actually do go to talk to friends and have them buy us drinks, is better than most rock clubs. Southpaw is clean, but not sterile; small enough to get intimate, but big enough to dance around like a dervish. We have played there once before and it has been my
favorite place to play. Compared to other clubs, Southpaw has a feeling of professionalism that doesn't exist everywhere and the sound guy knows what he's doing.

Unfortunately, we weren't able to soundcheck (see above) because we only got to the club around 7:30...when doors were supposed to open. Therefore, the sound was not as good as it was the first time we played there. Standing at the front of the stage, all I could hear was the fuzziness of the guitars behind me and could barely hear my voice in the monitors. I was getting pretty nervous about how bad it was sounding until I walked out past the monitors and heard that it must sound better to the audience – at least that's what I'm telling myself.

We can't control what the sound guy is doing, but you, yes you, standing in the audience with your arms crossed, can control the lack of dancing. Why don't people dance any more? Really? Is it the booze? Do they need more booze? We played an amazing show at a loft
for an RNC Not Welcome Benefit and those kids were dancing like crazy. I love it when the audience dances to our music. Nothing makes me happier.

Instead, Wednesday night we had people standing at least 4 feet from the top of the stage, more at the bar and more in the seating area. We're a loud band, but we don't hurt people! Audiences need to learn that if they like the band, they should move closer. They should also dance or move vigorously. I dance around very hard on stage and would like to see some other people getting sweaty. Is it too much too ask? I believe this is a New York problem, but correct me if I'm wrong. For all of you people who go to shows, please shake it if you're into the band, just a little. It is the Paradox of Rock Show Dancing: If no one dances, no one will dance. Everyone stands with their arms across their chests and bops their head to the beat, everyone. If a few people stopped doing that and started dancing, more people would follow.

Ask your friends if they are too embarrassed to dance at a rock show, ask yourself! It also could be the problem of a stage. I find that when we play shows that are on the floor and I'm face-to-face with people that they tend to get a little crazier. Perhaps we need to get rid of the stage format to get people to move?

Even though there was no frenzied dancing to our last song, ("Brakelights," our dance number), people seemed to like us. We got on stage a half-hour later than we scheduled and more people stayed than I expected. Many people were friends and friends-of-friends who had never seen us before and I received many congratulations on rocking out hard. Even though some complained about the weird bass buzzing that made them tingle and the lack of vocals in the monitor, every one who was there seemed to have enjoyed themselves and the vibe was very welcoming.

I really appreciated the people who came up to me to talk because I know that the freezing rain and early a.m. job would have kept me home. It wasn't the best show that we've played, but it certainly wasn't the worst and we have another one coming up soon on a Saturday.

After thanking people for showing up, I quietly went downstairs to get my coat and said goodbye to the few friends hanging out backstage. I left unobserved and walked back home in the rain, content in knowing that people had fun at the show, but also knowing that I had to get up and go to work in a few hours.