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The Jonas Brothers in Portland – A Review
I think it's important to acknowledge that I am not in any way the target audience for the Jonas Brothers. In the sea of pre-teen girls and their mothers standing in line to get into the Rose Garden, I stuck out like a sore thumb. Committed to doing fun things with my daughter (despite my personal tastes in music), I had decided to take her to one of the most buzzed about concerts so far this year. I definitely felt out of place in an event dominated by debates over which Jonas Brother people think is 'cuter' (the consensus seems to be Joe).
The Crowd Waiting to See The Jonas Brothers
As we waited for the show to start the stadium erupted in a deafening wave of screams any time anything Jonas Brothers related appeared on the overhead screens during the pre-show promotions. The Jonas Brothers seem to be able to instill that 'boy crazy pre-teen frenzy' that only a handful of boy bands can command. The sea of pre-teens waiting for the show carried fan signs, home-designed Jonas Brothers T-shirts, and were adorned by photos of the three Jonas Brothers.
As the lights dimmed the stadium was literally filled with screams (good thing I brought my Ear Love!). First to meet this adoring crowd was the relatively new Honor Society (watch the On Portland Interview with Honor Society), a band who described themselves as a 'Myspace Band' (or a band that built its following initially from myspace). While Honor Society only played a handful of songs, the audience responded exceptionally well to them. The final song from Honor Society, 'See U in The Dark', was the clear favorite of their set. The song snapped and popped like a good pop anthem, noticeably elevated from the rest of their set and is sure to become a hit. I was surprised at how short the set was; I would have expected them to do another song or two especially considering how well they were received.
Following Honor Society was a unique all-girl band from South Korea called Wonder Girls. Dressed in 60's chic (think The Supremes), Wonder Girls is an odd infusion of retro cool and bubble gum pop. I don't think that the audience for the Jonas Brothers really knew what to make of them. Their first set, a single song, was so short it was hard to get a real sense of them (check out this video of their first set). Wonder Girls performed a second number after Jordin Sparks's set and an introduction by Paul Jonas (the Jonas Brother's father) called Nobody. The song itself was pretty catchy but the dance that went along with it could only be described as odd. It'll be interesting to see if this Asian super group will find traction with American audiences. It could go either way.
Jordin Sparks, who I had seen a few years back, performed a much stronger set than the last time I saw her. Sparks had a much higher level of comfort on stage and seemed to connect well with the audience. Unfortunately there wasn't enough of spark in her performance and even her signature single "No Air" didn't have the punch that it should have. The highlight of Sparks's set was a rendition of Pretty Young Thing (PYT) in tribute to Michael Jackson, which Sparks performed with more energy and spunk than the rest of her set. Sparks seems constantly on the brink of breaking out and I think a lot of the raw goods are there, but she seems to be lacking the right material to bring her to the next level.
Pop Rock "Gods" on Display
The stadium filled with lights and smoke as the main event launched like a rocket ship. With Queen's 'We Will Rock You' blasting, Nick, Joe and Kevin Jonas were raised from the depths of the center stage and spun around as if they were pop gods stuck in a doughnut display. The full stage configuration for the Jonas Brothers concert was impressive, presented as a 'theater in the round'. The stage brought the performers much closer to the audience and gave far more fans a really good seat over traditional staging. The light, smoke and stage show was nothing short of impressive. With layered video screens, hundreds of different light configurations and an ever-revolving center stage, there was always something catching the eye.
Musically I can't say I was amazingly won over by the Jonas Brothers. They are pure boy band pop through and through. The dynamic of the band is an interesting one. While many of the Jonas Brothers fans swoon over Joe Jonas, it's actually Nick Jonas who seems to have inherited most of his father's musical talent. Whether he's playing guitar, piano or drums Nick seems to be the dominant musical force of the trio. Joe saunters around the stage to the admiring screams of fans, but if you really pay attention you can see it's really Nick who's carrying the lead. The third brother (sort of like the fifth Beattle), Kevin seems to be happy in his supporting role, rarely taking center stage. Kevin seems firmly rooted in his backup position. For whatever reason, that dynamic just works and the band comes off as an unashamedly pop boy band that is more 'cute and swoon worthy' than sexual (like Justin Timberlake). I also really appreciate that although the band comes from a strong religious background, they don't bring that to their music.
While I may not have been completely won over by the Jonas Brothers' music, I was quite impressed by their performance. A highlight for me was Nick Jonas' rendition of "Black Keys" which was presented with him solo at a white piano in a cloud of smoke. After the song Nick spoke to the audience about his diagnosis with Type 1 diabetes and his commitment to push on in the face of adversity. The talk was an extremely skillful way of addressing a real serious issue (teenage suicide) and I thought that Nick Jonas did a phenomenal job of sending out an important message to his fans.
Impressive Jonas Brothers Staging
The set as a whole had its ups and downs as does their music. High points seemed to pivot around their break-out hits like "S.O.S" or "Burnin' Up" and fall flat around some of their weaker songs. A complete misstep was the performance of "Sweet Caroline", the notable Neil Diamond song. The band said they were doing the song for all the parents to get up and dance, but I think they've misjudged the age of their audience's parents. They would have done much better with a stand out Michael Jackson song than Manilow, and I was actually surprised that their set was absent of a song to pay tribute to Michael Jackson.
At a high or low the stage spectacular always seemed to keep the show flowing. A late set return of Jordin Sparks was an unexpected treat. Surrounded by the full lights and video spectacular, Sparks belted out the title track to her new album "Battlefield". The performances was legions beyond her opening set and showed the potential for Sparks when she has the right material. Also a particularly notable water effect was something I'd never seen at a concert before and was especially impressive.
I can't say that I was won over at the end and became a fan of the Jonas Brothers. I am clearly not their target audience, but having said that I did enjoy their show. The Jonas Brothers have put together a pure spectacle of light and sound that is entertaining to watch. For me, though, the real enjoyment was watching my daughter as she jumped, sang and swooned. Equipped with the right ear plugs, the screams of the fans were manageable and the stage show was entertaining enough to make the evening more than worth it.
For more information:
Santogold Delivers The Gold
Santogold Brings The Audience on Stage
The show Sunday night at the Crystal Ballroom was billed as "Goldrush" and featured four 'Myspace buzz bands' including: Low v. Diamond, Alice Smith, Mates of State and headliner Santogold.
In an evening with four bands my expectations for the first band were pretty low, but Low v. Diamond delivered and impressed me with a strong set that felt more like a headlining set than an early opener. With good chemistry, a full textured rock sound and a talented lead singer Low v. Diamond showed showed real potential. Their sound is rocky ballad that can be filed comfortably between The Killers and Snow Patrol.
Low v. Diamond was followed up by the very stripped down Alice Smith. Accompanied onstage with only a single electric guitarist Alice Smith showed quite solidly that she has the presence to fill the stage. Her set captivated the audience who seemed to hang on every note. Smith's vocals often have the affectation and texturing that's reminiscent of Amy Winehouse, but she's really at best when she lets go of the vocal styling and is just herself. Alice Smith shines when she seems to loose herself in the emotion of her songs and I'd love to see here again when she's backed by a full band.
Alice Smith was followed by Mates of State, a keyboard and drum duet which moved swiftly through an upbeat and poppy set. I really wanted to like Mates of State, they are an extremely affable band with very listenable harmonies, but I felt like I had to really work to like them. Many of their songs are so packed that there's very little room to really connect with them. Some of the songs take left turns which clearly left the audience behind. Mates of State did their job as an opening band, but the need some fine tuning to really grow.
After Mates of State there was an extremely long break as the stage was stripped almost completely bare. The crowd was clearly impatient waiting so long for Santogold, but all frustrations were quickly erased as she took the stage. Although it was a relatively short set Santogold was on the top of her game for every moment of it. Without a single drop in energy Sontogold's set was celebration from the first note to the last.
Backed only by a DJ and two backup singers Santogold filled the stage with a contageous energy which flowed into the crowd. I saw more people dancing at the Santogold that almost any other show I've seen at the Crystal. The set which lasted just over an hour featured most of the songs off Santogold's debut album. In many of the recent concerts I've attended you can tell which song gets the most radio play because it's usually the point when the crowd comes alive. At the Santogold show the crowd responded to each song like it was a 'hit' song.
Santogold performed one cover, The Clash's Guns of Brixton, transforming it into a rich and contemporary song. Even though the show's music came from a turntable the show never felt pre-programmed or stiff. At one point Santogold messed up the lyrics to a song, laughing she ran out into the crowd pulling fans up on to stage for another go. The result felt like a dance party.
Santogold is the real deal, she's an immensely talented performer who is even better live than in her recordings. The concert at the Crystal Ballroom was her first performance in Portland, but it certainly won't be her last. Santogold is clearly a star on the rise and she's got the potencial to be an extremely hot ticket the next time she's in town.
Why Monotonix Is So Important To Music
Monotonix at The Wonder Ballroom
Back in early September I had the fortune of attending Monotonix's show at MusicFestNW. Their short and explosive set was one of the most impactual concerts I've attended for a very long time. When I heard that Monotonix was returning to Portland to open for The Silver Jews I knew I had to see them again. I had to know if the show at Satyricon was some sort of anomaly. Was it just something that happened in that time and place?
It was clear from the get go that the show at the Wonder Ballroom was going to be different than Satyricon. The slightly sparse crowd was filled with thritysomething couples, out on a Tuesday night date, all of which seemed more interested in a mellow beer and music. Most of them congregated on the 'other' side of the OLCC beer barrier (a ridiculous regulation for all ages shows that bifurcates an audience in the worst way). The Silver Jews are a toe tapping, sway back and forth, geee aren't they cool kind of band; so the idea of a wildly flailing and explosive Israeli punk band opening for them is an extremely unlikely paring.
As with the Satyricon show Monotonix set up their drum set out on the floor. The band entered to a few hoots and hollers. One of the guys next to me exclaimed, "This is going to blow your mind". I wondered if that would be true. Could they blow my mind again? Would Monotonix able to catch lightening in a bottle and unleash it again and again? With their explosive start I knew from the beginning that the answer was a resounding YES.
Playing a much longer set than at Satyricon, Monotonix unleashed their music on to the fairly unsuspecting Silver Jews crowd. At one point guitarist Yonatan Gat lept across the OLCC barrier, followed by vocalist Ami Shalev who was shoved back by Wonder Ballroom security. It was the first scuffle between a band's lead singer and security I've seen in years. Undaunted Ami plowed ahead taking out the barriers and one of the security guards. If punk is a state of mind vs. a musical genre, I'd submit that this scuffle was punk.
Crossing that line seemed to really engage the otherwise mellow crowd who encouraged the band. Both Avi and Yonata took to the air, floating above the crowd… It wasn't the whole room bouncing at once experience of their Satyricon show, but a similar energy was there. Avi fond his way up onto the stage where he thrust a water battle into his pants and then pretended to ejaculate with it on one fan. He then stripped down stuffing his shirt into his shorts and proceeded to sing an Israeli folk song. Leaping off the stage the band ripped through another song, this time with their signature trash can dump over drummer Ran Shimoni.
The band then lifted the drum set and moved it to the back of the venue. Monotonix isn't just a band that plays on the floor, the entire venue is their stage – no matter where you are, you are part of the show. Soon after Ran picked up his snare drum and ran it up to the balcony where he continued to play. Avi follows, running up onto the balcony and and then over the railing. As he balances precariously on the balcony ledge Avi yells that he's going to jump on the count of four….and then he does. The audience catches him and he continues to belt out their final song.
There is a distinct feeling after a Monotonix show that something has happened. Monotonix brings the music off the stage and into the audience in a way that make the audience a part of the music. In may ways this is what's been really missing with music lately. Music has become a very personal and individualized experience: people download music on to their computer, move it on to their iPod and then listen to it on their headphones. Often the only real sharing people do of their musical experience is when they snag music from Bittorrent. The reason to go see live music isn't so YOU get to see the band in person, it's much bigger than that. Concerts are a communal experience where the audience is just as important as the band on stage.
Most people seem to have lost sense of this communal experience. At many of the concerts I've been at lately I see people checking their phones, texting each other, shoe gazing, generally consuming the music without any consideration to the people around them. At a recent concert I even witnessed an event where someone almost got into a fist fight over someone singing along with the music.
There's no question that the music industry is broken. It's easy for people to blame record companies for the poor state of music, but I think audiences are as much to blame. Monotonix is a reminder of a time in music where music was experienced not just consumed. When the band plays from within the audience they change the dynamics, they break the personal bubbles surrounding so many of us and force you to stop watching and start participating. So many of people dance around and sing to the music when we think no one else is looking, but it doesn't have to be that way. Concerts aren't just spectacle, they are the shared experience of music in a deep fundamental way. When we all dance together and sing together to the same music, it connects us in a way much more powerful than adding someone as your friend on facebook or shooting them an IM. We all become a part of something bigger than ourselves and help create an experience which can only happen in that space and time.
This is why Monotonix is so important to music right now. In my mind they may be one of the MOST important things going on in music. Sure, anyone can set up their instruments on the floor and play (and maybe more bands should), but so few bands are so committed to destroying that barrier between band and audience, so committed to changing the musical experience that I think they're worthy of being held out as an example of what should be.
Be sure to listen to my: Interview With Monotonix
Not So Shiny Toy Guns – A Concert Review
Shiny Toy Guns Hiding Behind Smoke and Lights
I'm sorry to report the shine has come off the penny. Shiny Toy Guns has effectively gutted itself, replacing lead singer Carah Faye Charnow with Sisely Treasure and moving the female lead vocalist spot to something just above a back-up singer. Chad Petree made it extremely clear in front of the sold out Berbatti's Pan crowd that he is The One and that the Shiny Toy Guns stage doesn't have room for another strong and dynamic vocalist. Petree is extremely talented, but what made the band so appealing was the vocal interplay between Petree and Charnow. Without Chanrow Petree is left short, a fact that was clearly reflected in the band's extremely brief and underwhelming show.
The crowd seemed very eager to welcome Treasure with open arms, cheering loudly as she took the stage. Their eagerness was not matched by the band who stashed her towards the back of the stage, under mountains of smoke, and relegated her to the occasional backup vocal. It wasn't until she finally stepped forward to sing lead vocals on one of the bands notable songs, 'Le Disco' that it became clear that gamble to reorganize the band was a bust. As a lead vocalist, Treasure struggled through many of the Shiny Toy Guns' song, never quite connecting with them. Her performance brought very little of herself and seemed more like a mimicry of the recorded music than anything else.
I don't think there would have been as big of a problem if the band really brought her in and shared their new direction, but they don't seem to really have one. The one and only song which they performed from their new album Season of Poison was Ricochet, a Marilyn Mansonesque driving rock song which was ok at best. Treasure did seem more in her element belting out rougher, Pat Benetar like, vocals to a driving beat. But that was it. The only real peek into what the band might someday be.
Unfortunately, most of the 50 minute set was a peek at what the band isn't – they aren't the band they used to be. The Shiny Toy Guns left the crowd stunned as the exited the stage after just 38 minutes. Playing only a couple of songs in their encore, the band was off the stage before 11, less than an hour after initially taking the stage (and they were the headliner).
It's no fun to be a fan of a band and see them take a turn for the worse, especially a band that shows tremendous potential.
The show at Berbatti's Pan reminded me of a quote from Annie Hall: There's an old joke – two elderly women are at a Catskill mountain resort, and one of 'em says, "Boy, the food at this place is really terrible." The other one says, "Yeah, I know; and such small portions."
Here are pictures from the Shiny Toy Guns Concert:
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- Shiny Toy Guns Hiding Behind Smoke and Lights
Monotonix at MusicFest NW
Monotonix at MusicFest NW
It's taken me a few days to process what happened at Satyricon on Friday night as part of MusicFest NW. It was one of those situations that was so outrageously amazing that after it's over you begin to doubt if it actually happened.
Growing up in Northern California I was blessed by a phenomenal music scene. Concert promoter Bill Graham helped make San Francisco mecca for rock shows. With my varied interests in music I've seen a lot of very different shows in a wide variety of venues. Few shows have left me as mouth-open-awe-struck as the Monotonix show at Satyricon.
I had heard tales from friends who had seen Monotonix live: drummers body surfing, instruments set ablaze and all around insanity. It was my friend Ian Jane who most emphatically insisted I see them perform… I don't know how I'll ever thank him.
Many bands are known for their onstage antics. It's the very showmanship which earns bands a following when they play live. You go to a U2 concert, not because the music is great (although it is), but for the amazing show that they put on. Some bands are all about show. Kiss rocks, but would you really go see them if they played without the grease paint and pyrotechnics? Would Hannah Montana be the same without the four story video screens? What Monotonix did in their Friday night show went far beyond antics or showmanship, it was a complete musical revolution.
From the first note of the show Monotonix declared their musical independence. Rather than setting up their instruments on stage they put them right in the middle of the show floor. Everyone encircled them as they assembled their drum kit and plugged in to their amps. Then it happened, like an explosion Monotonix filled every corner of the room with their music, the entire (and I do mean entire) club erupted in dance.
I've been in my fair share of mosh pits in my time (the most memorable was Pantera when they played in Watts/Los Angeles), but I've never been in a pit that included every single person in a club. Also the 'pit' at the Monotonix show was unlike any pit I've been in before. Rather than people pushing and shoving eachother, elbowing and flailing, the entire room bounced and danced together.
As Monotonix played you could see the sheer glee on the faces of everyone in the club. Monotonix somehow was re-capturing something that we all thought was lost – a real, honest to goodness punk rock show. True punk has become extremely rare, there are many bands out there trying to be punk rockers, emulating the bands which came before them, but so few simply ARE Punk. Monotonix is punk.
It's impossible to capture what happened that night…This is the best I can do:
Flying through the air lead singer Ami Shalev crowd surfs as he sings, pausing only to climb up to a high ledge on the ceiling of the club. A trash can is bounced around, water is flying through the air. The high hat is kicked over and promptly reset. The guitarist leaps up onto the stage and then jumps back off. Nothing in the room is still. After a few songs the band picks up their instruments and moves them further to the back of the club and the circle of people follow.
"Sit Down", "Everybody Sit Down!" yells Ami, and miraculously everyone listens. I am drenched in sweat, I am thirty seven years old and haven't been in a pit in years. I am half leaning and half supporting the people around me as we sit on the floor of Satyricon. Ami thanks everyone for being at the show and then instructs everyone to wait till he counts to four till they jump up and dance. "One… Two… Seven…. Nine…. Five…. What comes after Three?!?!", everyone yells "FOUR" He says, Wait for it!"… and then "FOUR". Again Monotonix is an explosion of sound.
A few songs later they're heading towards the door. Stretched way past the end of their amp cables, so they unplug, carry their instruments outside where Ami climbs a tree, moons everyone and makes a speech. The drum is lifted with the drummer on top and he bangs on it. The concert ends in a street side celebration of music.
Everyone stood, mouth agape looking at eachother… "Did this just really happen?" "Oh my fucking God!"
The Monotonix show was one that people will talk about for years, it's the kind of show that you thank your lucky stars you were at or curse the sky that you missed. Monotonix returns to Portland at the end of the month with The Silver Jews at the Wonder Ballroom. They are not to be missed
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