Hinds Played Warsaw with QTY and Sharkmuffin, 5/10/18

Hinds

Me Divertí

The first time I ever met Tarra Thiessen and Natalie Kirch of Sharkmuffin was back at Northside Festival in 2014. I took some really terrible pictures of them at Bar Matchless and had a brief conversation with Tarra who handed me a download card for some of their music.

As I walked past the location of Bar Matchless on my way to Warsaw last night, I noticed that the place had been shut down. The old, corner bar was boarded up; and graffiti covered the walls. Kind of sad. But, also, kind of a reminder of how far Sharkmuffin have come since that night in the tomblike performance space at Matchless. I was heading to Warsaw to see them open a sold-out show for Spanish garage quartet, Hinds.

I'd only ever shot at Warsaw in the past as press for Northside or CMJ. I don't know if that conferred any special rights upon me or if the place has just changed their photo policy since then; but the rules for the evening were the typical "3 songs and out" for the openers and then, curiously, "wait 45 minutes BEFORE shooting Hinds." OK. I'm nothing if not a rule follower.

The cavernous space had started to fill in as Sharkmuffin took the stage; and, bang-bang-bang, three songs were over before I even really had a chance to get my bearings. I filed out of the photo pit with the rest of the photographers and took in the rest of Sharkmuffin's set from the crowd. They made the most of their 30 minutes, Tarra's voice ricocheting around the huge space on favorites of mine like "Fun Stuff" and "I Called You from the Moon."

Sharkmuffin's Tarra Thiessen

New York's QTY were up next. Rose Lamela shot their set when they opened for Cults at Monty Hall a few weeks ago, but I'd never heard or seen them before. Rose failed to mention to me what a good band QTY are. Co-fronted by singers / guitarists Dan Lardner and Alex Niemetz, QTY play a style of rock that owes as much to Stephen Malkmus as it does to The Strokes. Definitely in my wheelhouse, and I've been listening to their self-titled debut all morning.

QTY

Speaking of bands who have come a long way, I first saw Hinds in 2016 at South By Southwest. I caught them playing something like a 12 noon set at Frank, a bar / restaurant that serves artisanal hot dogs. There were maybe 50 people there; and, when the set was over, the women of Hinds set out to play several more shows that day. Throughout the week, I would run into them on the street rolling amps and dragging gear from venue to venue. Last night, they sold out an 800-person room in Brooklyn and played to a crowd that knew just about every, single one of their lyrics.

Hinds

Both of Hinds's albums -- 2016's Leave Me Alone and this year's I Don't Run -- are charmingly lo-fi and ramshackle. They sound like they're being piped out of one of those little toy, plastic guitar amps made by Danelectro. In a good way. Singers / guitarists Carlotta Cosials and Ana Perrote trade accented vocals that can veer between whispers and wild screams in an instant.

Hinds

The songs sound sunny and fun, but many of the lyrics deal with the downsides of relationships. I Don't Run is both lyrically and sonically more mature than its predecessor; but it still has that lo-fi vibe. Interestingly, while the lo-fi sound is there during the band's live performance; Hinds -- who also include Ade Martín on bass and Amber Grimbergen on drums -- are about as tight and polished in their delivery as any band I'd describe as "ramshackle" has a right to be. Songs like "The Club" and "New For You" from the latest record and relative oldies like "Bamboo" sounded fantastic while retaining everything that makes Hinds Hinds.

The other thing that makes Hinds Hinds is an exuberance on stage that infects the whole crowd. When 45 minutes were up and photographers were allowed into the pit, it became apparent why the band wanted us to wait. QTY took over guitar duties from Cosials and Perrote for the band's cover of "Davey Crockett;" and the pair climbed onto the barricade and tossed themselves into the crowd. They surfed around in a crazy scrum until making their way back to the stage. Security hustled us out again as the band closed things out with "New For You" and "San Diego." They sprayed the crowd with Champagne and lingered, dancing as the house music came up.

Hinds

For various reasons, I've been struggling with inspiration here at the site. Last night was cool, though. Seeing how far a couple of bands I've followed for a few years have come gave me some perspective on how much water has gone under the bridge here. Being inspired by a new (to me) band made me see that there's still plenty out there to get excited about. And, simply, Hinds never fail to put a smile on my face.

I had fun.

Pics are on the Facebook page and in the Flickr galleries.

SXSW Day 3 w/ Hinds, Bat Fangs, Wye Oak, Ruby Boots, Sarah Shook & The Disarmers, Panels from Superchunk, Steve Albini & Kim Deal, and more, 3/14/18

Steve Albini & Kim Deal

All Official and Whatnot

I've spent lots of time during my previous trips to SXSW at unofficial shows and showcases. There will be plenty of that this year, too; but, yesterday, I decided to take it a little bit easy and do some stuff around the Convention Center during the day. My plan was to sit in a lot of chairs all day and then take in some bands in the evening.

Tuesday's shenanigans kind of wore me out. The crew from Dentist and I had some slumber party hangs that night and then went our separate ways in the morning. They headed out for an interview, and I went to the Convention Center to check out the "Featured Discussion" with Laura Ballance and Mac McCaughan of Superchunk / Merge Records. The pair discussed running an independent record label in the era of the Internet (which, according to McCaughan, "Has ruined everything with a few exceptions"), their thoughts on "getting political" as artists, Ballance's thoughts on running for office, and quite a bit more. It was a really interesting discussion and the words "disrupt" or "blockchain" didn't even come up until the Q&A session, which must be some kind of record for SXSW 2018.

Laura & Mac

After that it was time for some barbecue from the really quite good Iron Works Barbecue around the corner from the Convention Center. I manage to eat there every year, and it is solid.

I made it back in time for Wye Oak's set on the "Radio Day Stage" inside the Convention Center. In three years, I've never seen a band there; and, while it does kind of feel like a huge conference room, hearing Wye Oak fully sound-checked and coming through a great system was a real treat. Plus chairs.

Wye Oak

Then, I hoofed it down 4th Street to the Cedar Street Courtyard (more like an alley, really, but still cool) for Hinds' set at FLOODFest. I really do love this Spanish four-piece. Jangly, messy garage pop and they have a total blast. They just make everyone happy, you know?

Hinds

Anyway.

It was back to the mothership for a packed out "Conversation with Steve Albini and Kim Deal." Albini opened that by saying that Kim Deal is one of his favorite people to work with, one of those people for whom he'll say yes before even knowing the details of the request. "And that's how I ended up here, a place where I swore I'd never set foot as long as I lived."

Their talk was engaging, and I'm really glad I made the time for it. I'm also glad that I got up the nerve to walk up front when it was done to tell Kim Deal how much I love the new Breeders' record, All Nerve.

After some re-charging at the hotel, I headed over to Barracuda to catch the set from DC's Bat Fangs. It was just pure rock, delivered with all the big guitar solos and high kicking energy that comes through on the band's self-titled album. So much fun.

Bat Fangs

Call a Lyft. Head over to the Continental Club for some country music at the Bloodshot Records showcase. Sets from Ruby Boots and Sarah Shook and The Disarmers as well as a meetup with our good bud, Matt Chrystal.

Ruby Boots

Ruby Boots blew us both away. The Nashville via Perth, Australia singer / songwriter was backed by a band that brought a real edge to her live performance. Sarah Shook is simply brilliant, an honest voice with a real gift for writing songs about whiskey, broken relationships, and being a general fuck-up that you can't help but sing along to.

Sarah Shook

That was it for me. Three more days to go. I got this.

Northside Festival, Day 4: Brian Wilson, ROSTAM, Hinds, 6/12/16

Brian Wilson

Pet Sounds

My first-ever Sunday at Northside Festival. Even though I have tickets to his September show at Red Bank's Count Basie Theatre, I wasn't going to miss my opportunity to see Brian Wilson and his band perform The Beach Boys' 1966 masterpiece, Pet Sounds, in full. It was a beautiful day. It would be an outdoor show. Madrid's Hinds and ROSTAM (formerly of Vampire Weekend) were on the bill. How could I pass?

I was a little nervous about the fact that a badge didn't guarantee entry to the show since this one wasn't free. Instead, it was a benefit for the Open Space Alliance; so ticket holders got priority. After a couple of beers with Justin of Dentist before his band's show at Muchmore's, I headed over to the park and waltzed right through the gate. Hinds were due at 6:30, and about as many photographers as I've ever seen (up to that moment) for a single show massed along the railing as the young women from Spain posed and mugged for photos before their set.

Hinds

They played a short set featuring songs from their excellent debut, Leave Me Alone. Just like at South By Southwest, the band were all smiles throughout their set and charmed the crowd. Their songs are simple and full of garage rock twang, reverb, and group vocals. Theirs is one of my favorite records of 2016. Afterwards, the members of Hinds milled through the crowd or worked their merch table talking with people and posing for more pictures.

Hinds

Following Hinds, ROSTAM (former Vampire Weekend composer, songwriter, multi-instrumentalist, and producer, Rostam Batmanglij) took the stage backed by a string quartet. Several of the songs bore the hallmarks of the more chamber poppy selections in the Vampire Weekend catalog. At various points throughout the set, ROSTAM brought out guests including Wes Miles of Ra Ra Riot, Hamilton Leithauser of The Walkmen, and Angel Deradoorian. He performed a song with the latter pair from a secret, upcoming project.

ROSTAM

As the time got closer for Brian Wilson and his band to take the stage, the crush of photographers waiting along the rail for access reached epic proportions. I planned poorly and got a spot towards the back of the line, ending up with a lot of Wilson's piano in my shots. At 8:30, the band took the stage; and we filed into the pit. Before getting into the main event, Wilson warmed everyone up with a few non-Pet Sounds classics. Wilson introduced each song -- "California Girls," "I Get Around," "Surfer Girl," "Don't Worry Baby," "Wild Honey" (w/ Blondie Chaplin), "Sail On, Sailor" (w/ Blondie Chaplin) -- with an anecdote like, "I wrote this one when I was 19" or "I wrote this in my car." He kept up the witty between-song banter all night.

Brian Wilson

"Okay, now we're gonna play Pet Sounds." And, with that, the band kicked into that album's opening track, "Wouldn't It Be Nice." Wilson introduced "You Still Believe in Me" with, "This next song isn't really a rock and roll song, but it's about a guy who messes up all the time and his girl still loves him anyway!"

Al Jardine had a spot right next to Wilson's piano, and acted as Wilson's partner in crime throughout the set, thanking the audience throughout for singing along. Jardine's son Matt handled most of the falsetto work, and the harmonies sounded great on several of the songs. Brian Wilson's voice obviously isn't what it was 50 years ago, but hearing him sing these songs and seeing him appear to enjoy doing it so much has a charm all its own. The band, which included two drummers, was on point all night.

I almost always well up during "God Only Knows," and I felt it starting to come on as "Sloop John B" drew to a close. I managed to hold it together, though.

Following "Caroline, No," Wilson shouted "Good vibrations!" and the band launched into that one (which comes pretty close to "God Only Knows" as greatest Beach Boys' song of all time), closing the evening out with more classics -- "Good Vibrations," "Barbara Ann," "Surfin' USA," and "Fun, Fun, Fun."

Brian Wilson and Al Jardine

I made my way back to the car on a real high from the day. I don't think it's really possible for me to overstate the influence of Brian Wilson -- and, specifically, Pet Sounds -- on almost all of the music I personally listen to every day. Hearing the songs outside as the breeze (Okay. The WIND.) blew through the crowd was amazing and made for a beautiful Northside Sunday. The only thing that would have made it better would've been if CoolMom were there to dance with me. She's coming with me in September.

Pictures from all three McCarren Park sets are up in the Flickr galleries.

CoolDad Does Austin: SXSW Day 3

James of Beach Slang tries his beer trick as Matt Pinfield looks on.

Hinds, Beach Slang, Don Giovanni Records

A slight drizzle on Thursday morning cooled things off a bit, but not much. I got up. Did my show listings and daily recap, then headed downtown.

I'd been shut out of the Hinds show on Tuesday night; so I decided to try and catch them at Frank, a small bar west of the downtown craziness, for their first of five shows of the day. The band's album Leave Me Alone is one I've been listening to quite a bit since it came out.

Getting in this time was no problem, and Hinds were great. They admitted that they'd just woken up; but for a band with 17 shows on the schedule for the week, they brought some really good, positive energy. Never stopped smiling.

Hinds from Madrid.

After their set, I walked over to Waterloo Records to catch Louisville's White Reaper. Once I arrived, I realized that the setup was kind of like the Stone Pony Summer stage -- a stage at one end of a giant parking lot. It was packed; and, while I think White Reaper are great, I was kind of surprised. Turns out that Joe Jonas and DNCE were next on the schedule, and their fans were already staking out real estate. White Reaper got to play to a large crowd holding up DNCE posters. I headed over to the flagship Whole Foods for a sandwich.

Then it was back to Frank for Philly's Creepoid, local kids Residual Kid (who were hosting the Frank party), Yuck, and Beach Slang. Oh. I didn't mention that Matt Pinfield was emceeing the Frank party! Anyway, Creepoid were fantastic. Don't miss them when they play Brighton Bar next week with The Dirty Nil and Restorations. Residual Kid surprised me. They were probably 17 years old, very good, and have obviously spent a lot of time with Nirvana and Pixies. Yuck were pretty laid back as they delivered songs from their latest album and mixed in a few that I remember from their marvelous debut.

Beach Slang were Beach Slang. Blood, guts, sweat, and drama all over a tiny stage late on a Thursday afternoon. I realized during their set that, as much as I enjoy discovering new stuff, I still just love what I love. Love them.

I headed back into the craziness of downtown for some beers with Dentist and to hit the Don Giovanni Records showcase at The Velveeta Room. I arrived as Mal Blum was setting up. Blum and the band turned in a pretty rocking set of Blum's soul-baring soungs. Following that, it was Philly's Pinkwash.

Sound guy: "That guitar's pretty loud. Can you turn it down?"

Guitarist Joey Doubek: "Um... No. I really can't."

Then he and drummer Ashley Arnwine absolutely pummeled the whole room.

Following Pinkwash, it was time for Vacation. They had about 1000 times the energy I did at that point and gave us a great set. When they were done, so was I. I could barely stand after going straight for about 13 hours. I headed back to the hotel, finally ate dinner (at the Waffle House next door), and crashed hard. It's back at it today when I'll try to catch some of the bands I missed yesterday.

Vacation

Stay tuned.