Brenden Benson, November 16 at the Bottleneck

Sometimes you just wind up at a show. I was in Lawrence, KS for a few days for some time off and visiting Seth Jones and his merry band of brigands and we looked around for shows going on that weekend. Not much going on in town, or even in Kansas City, but we were in Lawrence during the day at a football game and drinking the entire time and we probably would have wound up at the Bottleneck anyway, despite who was playing that night. It just so happened to be Brendan Benson, someone we knew of, at least from being part of the Raconteurs. But let me emphasize again that we had been drinking all day and generally hanging out with each other and playing pool and I was hitting on a chick and drinking more was more of a consideration than seeing the show, which would have been a spectacular performance if it had been an ordinary bar-band, but we were hoping for some Raconteurs tunes, and I wouldn't hold it against him that he didn't play any, but there wasn't much to engage us more than what just a good local band would do. However, he ended on a cover of Tom Petty's "American Girl" which was enough to have us dancing. It was a good night. I even remember a lot of it.

(Alternate review including set-list and photos.)

Electric Six, November 11 at the Key Club

Why yes, I'll see the Electric Six every time I possibly can. This time Vanessa went along. I don't know if she was really a fan of the band from before then or if she just wanted to go to drink but we had a great time. It was a show that I've seen before but, man, I could see that show once a week and never get tired of it. The band is tight, honed sharp from years on the road playing clubs like this, and Dick Valentine might be the best frontman currently alive, if you're into that kind of music, kind of heavy metal-disco with tongue planted in cheek. All of that is fine with me. It's a good combination and one that's hard to pull off, especially with any consistency. As big of a fan as I am I won't say that every single album of theirs is genius but they know what their best songs are and they always put on a good show. It also doesn't hurt that their songs are short and it seems like they play for hours when they really just have an hour and a half or so like anyone else. However, this night was a bit different. The band put on another great performance and I think Vanessa was converted to a fan, if she hadn't been already. The song they sandwiched between “stop” and “continue” in “Improper Dancing” that night was INXS' “Never Tear Us Apart” which was performed more playfully than INXS ever did but still a lot more serious than the Electric Six usually are (which is part of doing the song on a goof). The band did an encore ("the 'Dance' trilogy" as Dick noted) and left the stage and the house music came on and the crowd started to leave but for some reason the lights didn't come on and the roadies weren't clearing the band's gear. We hung around for a bit, just to see if anything would happen, and Percussion World even passed by us and I asked if they were going to do more and he said that he wished they could but they couldn't and I told him that they weren't clearing the stage then it was like he remembered something and hurried back backstage. A few of the members of the band wandered back on stage like they were going to get something going, Dick had even taken off his suit and put on a T-shirt (that said “Don't taze me, bro”) but they just didn't start back up. We stuck around for a few more minutes then decided it was late enough and took off. We even asked the bouncer if the band was going to play more and he said to not bet on it. Vanessa and I left the place and crossed the street to where we parked and only by the greatest coincidence looked back into the Key Club and saw the band back on stage. We rushed across the street and back into the place and the band kicked back into it again. Most of the crowd was gone but the Electric Six doesn't need a packed house to melt faces. Dick announced they would play “five more songs, one for each member of the band” (except himself, obviously), though I don't know if those songs corresponded to individual members of the band. And play they did, rolling out probably the rest of the songs they usually play on tour but had rotated out for this night's performance. We ended up getting most of Fire that night and some extras. I'm not usually confident that Electric Six shows can top the awesomeness that they always are but that night they certainly were. They went above and beyond. And I'll be there next time to see them play as well.

Electric Six's set-list:
I thought the first song was off the new album but the vocals were really low in the mix early in the show and I couldn't make out the lyrics better than "listen" and "said" and I couldn't find the song on Google and I didn't remember it when I listened to the album again trying to find it
"Dirty Ball"
"Down at McDonnelzz"
"Jimmy Carter"
"Egyptian Cowboy"
"Improper Dancing"/"Never Tear Us Apart"
"Danger! High Voltage"
"Slices of You"
"Body Shot"
"Formula 409"
"Steal Your Bones"
"Gay Bar"
"Gay Bar Part 2"
"You're Bored"
"I Buy the Drugs"
"We Were Witchy Witchy White Women"

"Dance Pattern"
"Dance Epidemic"
"Dance Commander"

"Techno"
"Naked Pictures"
"Randy's Hot Tonight!"
some song about raining lies and forty days and forty nights
"Getting into the Jam"

Pixies, November 5 at the Palladium

The second Pixies show, with Ahmed and Gary, drinking way-overpriced beers (made easier by the drinks we also had before the show). Same concert as the night before, with little variation beyond the band playing tighter, no screw-ups from Kim, and a bit more straight-faced. The encore, however, was completely different, including "The Holiday Song", one of my very favorites, and one I had only seen them play maybe once before. Another great show but by this point I was glad to have skipped the third show, as the only way they could have changed it up was in the encores, most likely with songs I've already seen them play (though it would have been worth it for "I've Been Tired" or "Dig For Fire" or "Levitate Me" or "Letter From Memphis" but I wasn't going to hold out hope for that).

The Pixies' set-list:
"Dancing the Manta Ray"
"Weird at My School"
"Bailey's Walk"
"Manta Ray"
"Debaser"
"Tame"
"Wave of Mutilation"
"I Bleed"
"Here Comes Your Man"
"Dead"
"Monkey Gone to Heaven"
"Mr. Grieves"
"Crackity Jones"
"La La Love You"
"No. 13 Baby"
"There Goes My Gun"
"Hey"
"Silver"
"Gouge Away"

"Wave of Mutilation (UK Surf)"
"Into the White"

"The Holiday Song"
"Nimrod's Son"
"Vamos"
"Caribou"

Pixies/No Age, November 4 at the Palladium

The Pixies performing Doolittle, my all-time favorite album (by a country mile)? Yeah, I'll be go to that. Hell, I'll get tickets for both nights (later a third added but I passed on it). The first night I was solo, getting there in time to see No Age, who changed my mind. I had tried to get into them earlier in the year and I just couldn't get my head around the noise. For whatever reason that night it clicked with me, or maybe it was just that they seemed more focused, in a place where I could enjoy them, or they were on their best behavior opening for their heroes. The Palladium's floor is a wide-open space, half-full by the time I got there, and I was able to move up most of the way by the time the Pixies went on, getting within a few feet of the front barrier when they hit the stage and the crowd crushed their way in. I was surprised by the people around me, mostly kids, which isn't a surprise to be in the thick of the crowd for a rock show, but the Pixies were big (the first time) before most of them were born. And those kids were as crazy about the band as anyone else in the crowd (except for the guy older than me who asked if whatever they just played was on Doolittle. Well, duh, dude, that's what they're playing. Then he said he didn't really listen to that album and I realized that I did not need to pay attention to him). The show started with a film, apparently the one by Fellini that Black Francis took inspiration from, with close-up eyeballs being sliced, which got the crowd going, but it went on for about 15 minutes and I just didn't see the point, even as an introduction. The band took the stage and they confounded the crowded by not diving into Doolittle but by playing some Doolittle-era b-sides. The crowd was patient but even I'll say that those non-Doolittle tracks from that time were not their best. A smart move? I can't tell. That immediately-post-Doolittle era might be when you could say that that was when they started their downhill climb (one that Frank Black has yet to recover from). But the crowd was grateful, though they almost exploded when Kim started the baseline to "Debaser" before stopping when she realized that they had planned to play another song or two before that. Kim was particularly loose that night, as was the rest of the band, but better to tighten later than start tight and have nowhere to go after that, I suppose. Once Kim starting playing the right song at the right time, "DOOLITTLE" appeared larger than life on the screen and the crowd, as they say, went wild. Kids half my age were crawling over each other and pushing to the front, a few mosh pits broke out, and everyone was dripping sweat -- an appropriate show of appreciation. True to their word they played the whole album, then a few more B-sides, then left the stage. They played it as well as it could be, not adding any flourishes but not having a keyboardist either (like they did when they originally toured the album). To be honest, I couldn't see the point in making a big deal that they were playing the whole album, since they played most of it every night when they were touring after reuniting. The one exception was "Silver, which they've never played (but which I could skip, if I had to pick any track), and filling in a few of the tracks that I missed at the other shows I had been to (somehow I'd never heard "La La Love You" live up to that point). The encore was a few songs from the other album, which was fine but too short for my tastes. Doolittle is something like 36 minutes long. Yes, filling up a set-list with B-sides is appropriate, as is playing a few other tracks for anyone who wasn't as obsessed with the album as I am (though I wouldn't understand how someone could be like that). As far as I was concerned, playing Doolittle was just a starting point and they couldn't have gone anywhere from there, though they didn't try to go far, which was fine with everyone and I certainly won't complain.

The Pixies' set-list:
"Dancing the Manta Ray"
"Weird at My School"
"Bailey's Walk"
"Manta Ray"
"Debaser"
"Tame"
"Wave of Mutilation"
"I Bleed"
"Here Comes Your Man"
"Dead"
"Monkey Gone to Heaven"
"Mr. Grieves"
"Crackity Jones"
"La La Love You"
"No. 13 Baby"
"There Goes My Gun"
"Hey"
"Silver"
"Gouge Away"

"Wave of Mutilation (UK Surf)"
"Into the White"

"Isla de Encanta"
"Gigantic"
"Where Is My Mind?"

Silversun Pickups/Dandy Warhols/Matt & Kim, November 3 at the Gibson Amphitheater

I was minority obsessed with the Silversun Pickups for most of the year (including awarding their Swoon my #2 of the year) and seeing their hometown show was a given (despite that I had not seen them before in L.A. proper). The tickets were (relatively) cheap ($30 before Ticketmaster fees) and there were other bands included in that as well. I got my own ticket and got a pit-seat, which I thought was lucky but apparently it was pretty easy to get such a ticket for the show. The show was heavily advertised up to the day (in the Weekly, at least, so it was visible to me but the newspaper also sponsored the show) and it didn't even sell out (and it was probably so advertised because it didn't. If it had sold out they could have stopped their advertising campaign). Part of the amphitheater was actually sectioned-off, which I'd never seen before. Apparently the Silversuns can't sell out 5,000 seats even in their hometown and with a half-dozen other bands in the line-up. I got there in time to miss Dengue Fever but I saw Matt & Kim, a bundle of energy and confetti on a stage completely empty except for them and their drum kit and keyboard, and who invited everyone down to the pit, which was probably hell for security to get them out of there when they were done (not that the entire audience couldn't have fit in the pit anyway). I had a seat and ate popcorn then went to the pit, which was about 80% empty and probably only got about half-full at the peak of the night. The Dandy Warhols seemed to be an odd pairing with the rock professionals of the Silversuns but they came on cool and focused, a departure from being the shambling, disorganized -- but brilliant -- mess I've seen them be in the past. The druggie-slacker vibe is a little sad now that they're all close to their 40s but they've stayed together anyway and now they rely on their songs, focusing that night, at least on, ...Come Down (as they should). Zia looked sexy as usual, all in a black jumpsuit and looking like a spy. They're still an opening band even after all these years or just better headlining a club or playing halfway up the bill at a festival. The Silversuns are where it's at, exploding onto the stage in fuzz guitars, a heavy bass, and a drummer going crazy with a cymbal that's about 10 feet up (which can't be easy but looks kinda cool). The Silversuns have been great and consistent enough that they've gone far beyond the lazy Smashing Pumpkins comparisons (though the Pumpkins not putting up a fight makes that easy) and now they just concentrate on rocking out. It was firm set, starting strong, but no surprises, except for "Kissing Familes," which I've seen them do every time and it should be expected by now but I'm always excited and shocked and amazed and surprised when they play it. Brian is still a bit of a shy frontman but when they rock as hard as they do, they can leave banter and desperate charm for bands who don't have the volume.

The Silversun Pickups set-list:
“Growing Old Is Getting Old“
“Well Thought Out Twinkles“
“Sort Of“
“There's No Secrets This Year“
“The Royal We“
“Little Lover's So Polite“
“It's Nice To Know You Work Alone“
“Future Foe Scenarios“
“Kissing Families“
“Catch and Release“
“Panic Switch“
“Lazy Eye“

“Substitution“
“Creation Lake“
“Common Reactor“