On Thursday, December 8th,
Cass McCombs and his band played to a roomful of fans at the Doug Fir Lounge in Portland, Oregon. It’s a practical supposition that– if one were not yet a fan of his music– to see Cass play live for the first time would turn a person into one. Cass showcases a talent made obvious the moment he strums the guitar and sings a phrase and by the bands he’s played with (Source, Wikipedia: Cat Power, Bonnie ‘Prince’ Billy, Andrew Bird, Blonde Redhead, Modest Mouse, Beach House, Arcade Fire, Fiery Furnaces, The Shins, Deerhoof, The Walkmen, Thurston Moore, etc., etc.) And he plays with a band of total pros. From an unassailable rhythm section touting a drummer who makes no mistakes and manages to show sustained energy as well as control throughout an entire set, to a man on the keys who went almost unnoticed (the band sounded like a recorded album at times; in a good way) until he began improvised soloing during a crowd hit, “Dreams Come True Girl,” sounding like he could’ve fit in well in the Bitches Brew personnel. The lead and rhythm guitarist was an obvious talent in the set, but what was most surprising about the guitar work was that of McCombs himself: his leads stood out as strong and inventive, and the vocal work never suffered for it but drew nearer to its perceptible liveliness.

With a standout technical crew on hand, Cass’ quiet vocal deliveries were as intimate and appreciable as listened to on vinyl with headphones, and a supremely artful backdrop of Atari-like lights, Cass McCombs and band played a memorable show. McCombs seemed mystifying in persona, as likewise do his haunting vocals and equivocal, poetic lyrics– and this is refreshing in a time when so many performers of all different types seem to want attention drawn to themselves in lieu of what they are doing. The reticent performer scarcely said a word, save for introducing his band and to quite respectfully ask the audience to quiet the barroom chatter between and during song beginnings. Go see Cass McCombs play live if you get the chance– he may not come through your town again for some time.

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For more on Cass McCombs, visit cassmccombs.com.

Butch entered the stage to Dr. Hook’s “Cover Of Rolling Stone” then launched immediately into a three song slow-jam fest, featuring Marvelous 3′s “Cigarette Lighter Love Song” as the show opener. For “Every Monday,” the microphone was turned toward the audience, who sang every word to the song while the singer sat on the stage and played along acoustically.

Playing the first six songs of the set sans band, Butch took the opportunity to revisit some pre-Widows tracks from previous albums. Prompted by a crowd who seemed to know every word to every song, the Atlanta native remarked, “I like when this place is sold out– it’s good for my ego. I remember playing the Exit/In to four people when I first played here… three of them were bartenders. We’ve come a long way, baby.”

Cary Ann Hearst of Shovels and Rope joined the band onstage for “Synthesizers,” which featured a full-on “Come On Eileen” too-la-ta-loo-ra mid-song breakdown. And to keep the homage vibe going, Butch Walker and the Black Widows later played a cover of Simon and Garfunkel’s “Cecilia” as a lead-in to “Dublin Crow.”

The highlight of the show was in “The 3 Kids In Brooklyn,” a song which features Butch’s famous “little guitar,” a prop that seems to trigger something that makes him lose his shit and encouages climbing on top of the kick drum. The energy level of the show never wavered, but it hit its peak during this particular jam.

Given that producing records is his day job, Butch Walker knows his way around a studio album, but his live show is where his most substantial connection is made as an artist. Of any of the artists we’ve covered, Butch Walker seems to be most concerned with wanting you to have as much fun at his show as he does– and Butch Walker parties. And if you have any doubts, re-watch that “Every Monday” video; his fans are that dedicated for a reason.

Parachute Musical chose the 5 Spot as the venue to house the Nashville edition of their Kill It Cut It Down album release and they brought fellow Nashvillians, Eastern Block to open the show.

Like Parachute Musical, Eastern Block navigate their rock-based soundscape by alternating between keys and guitars, and their heavy guitars and full vocals had no problem filling the venue as fans passed a giant tip jar through the crowd like an indie rock collection plate.

Parachute Musical took the stage for their set a little after 11 pm, with all four band members dressed in white t-shirts, causing an audience member behind me to surrender to the urge of telling a “looks like everyone got the memo” joke regarding PM’s solidarity-chic attire.

With the exception of “You Could Take A Lot” and “Hometown,” Parachute Musical played every track from Kill It Cut It Down, including a sounds-just-as-good-live-as-you-hoped-it-would rendition of “Losing You.” Taking the place of the missing tracks were old jam “No Comfort” and new jam “All Systems Go.”

The band’s incessant touring throughout the country appears to be paying off– Parachute Musical’s live show is fun and energetic, each of the four members playing an obvious and integral role in the band’s architecture. Each member makes sure to put more sweat into their performance than even the sweatiest fan could put into dancing, and bassist Andrew Samples just might be the most photogenic member of any live act, ever. Even if Parachute Musical aren’t your favorite indie band, their live show will earn your respect.

If words and pictures aren’t enough, there’s also video because we live in the future.

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For more on Eastern Block, visit eastern-block.tumblr.com.
For everything on Parachute Musical, vist parachutemusical.com.

Opening the annual concert series Live On the Green, Will played the perfect mix of new and old songs, including a version of “When I Can Afford To Lose” that featured the vocalist trading in his guitar for the keyboard. Hoge also played “Ms. Williams,” introducing it as the first of his songs he ever heard on the radio, a goosebumps-inducing rendition of “When I Get My Wings,” and rounded out the set by bringing former keys player, Jefferson Crow, up onstage for “Pocket Full Of Change.”

The event announcers made endless jokes about trying to guess whether forthcoming release Number Seven is or is not Will Hoge’s seventh album and that was almost as lame as the part when an unnamed independent music journalist may or may not have become somewhat choked with emotion during the third verse of “Even If It Breaks Your Heart.”

Number Seven will be released on September 27th.
You can stream “When I Get My Wings” (on repeat) on Spotify.

Will Hoge will begin touring in support of Number Seven at the end of this month:

09.21.11 Loveless Barn @ Nashville, TN
09.22.11 The Children’s Museum of the Upstate @ Greenville, SC
09.23.11 Peace Center Amphitheatre @ Greenville, SC
09.24.11 40 Watt Club @ Athens, GA
09.25.11 Vulcan Park @ Birmingham, AL
09.28.11 Diesel Rock n Roll Country Bar @ Virginia Beach, VA
09.29.11 Visulite Theater @ Charlotte, NC
09.30.11 Vinyl @ Atlanta, GA
10.01.11 Lincoln Theater @ Raleigh, NC
10.05.11 Canopy Club @ Urbana, IL
10.06.11 Shank Hall @ Milwaukee, WI
10.07.11 Maintenance Shop @ Ames, IA
10.08.11 The Mill @ Iowa City, IA
10.13.11 Mercy Lounge @ Nashville, TN
10.20.11 Rhythm & Brews @ Chattanooga, TN
10.21.11 Backstage at the Tin Roof @ Nashville, TN
10.22.11 Stickyz Rock ‘n’ Roll Chicken Shack @ Little Rock, AR
11.01.11 Radio Radio @ Indianapolis, IN
11.02.11 Majestic Theater @ Madison, WI
11.03.11 Double Door @ Chicago, IL
11.04.11 Off Broadway @ St Louis, MO
11.06.11 Knuckleheads @ Kansas City, MO
11.09.11 World Café Live @ Philadelphia, PA
11.10.11 Highline Ballroom @ New York, NY
11.11.11 Johnny D’s @ Somerville, MA
11.12.11 The 8×10 Club @ Baltimore, MD
11.16.11 Beachland Ballroom & Tavern @ Cleveland, OH
11.17.11 The Basement @ Columbus, OH
11.18.11 The Southgate House @ Newport, KY
11.19.11 Kirk Avenue Music @ Roanoke, VA
12.01.11 Fitzgeralds @ Houston, TX
12.02.11 The Prophet Bar @ Dallas, TX
12.03.11 Stubb’s Waller Creek Outdoor Amphiteatre @ Austin, TX
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For more on Will Hoge, visit willhoge.com, where Number Seven will also be available for purchase.

On tour in support of their forthcoming LP, Outside, O’Death visited Portland’s Doug Fir to play their punk-infused Americana to a small-but-dedicated group of fans and strangers on a Thursday night.

Seemingly unconcerned by the limited turnout, the Brooklyn five-piece played hard and loud for those of us who did come out, and they made the trip worthwhile. With a sound that wavers somewhere between Gogol Bordello and Mumford and Sons, each member of the band is a showman as much as he is a musician, and each instrument is well utilized. Not at all your typical, modern Brooklyn band, O’Death sound closer to something you might find in a Kentucky barn– if Kentucky has punk bands and mosh pits.

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For more on O’Death, go to odeath.net.

For more on Sharon Van Etten, visit sharonvanetten.com.

Washington D.C. band U.S. Royalty brought their high-energy rock show to Portland’s Mississippi Studios as the middle set on a three-band bill and gave the strongest performance of the night. The band played a heavy handful of songs from their recently self-released debut, Mirrors, saturating the room with heavy bass lines, harmony-fueled melodies and a considerable classic rock/blues vibe. Touring in support of the LP, John Thornley made a decent case for the album and played the role of frontman well by keeping the show lively and photogenic. Proof:

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For more on U.S. Royalty, go to usroyaltymusic.com.

On the eve of the release of A Winter Tale, Bobby Long took the stage of the Doug Fir in Portland, OR with some new material and his newly-acquired band in tow. The set list included some fresher, fuller versions of old favorites like “The Bounty of Mary Jane” and “Penance Fire Blues” as well as newer songs from A Winter Tale. The most notable portion of the set list was the performance of the LP’s title track, in which Bobby and his band took the opportunity to give the crowd a full-on jam session, which was entirely electric, both musically (see: Bobby’s electric guitar) as well as figuratively.

The addition of a full band to Bobby Long’s live set gives his songs a larger and more-structured sound without overpowering or compromising the singer/songwriter’s trademark rawness and sincerity. Bobby has proven that he can play the part of solo musician as well as front man and that his songs sound just as authentic unplugged as they do through an amp.

See it all here:

Bobby Long will be the musical guest on The Tonight Show with Jay Leno Thursday, February 3rd and confirmed that he will be attending SXSW in March.
A Winter Tale was released today.

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Find out more about Bobby Long at bobbylong.info.

During their headlining stop at the Hawthorne Theater, fun. brought the best version of their sweaty, high-energy rock/pop show that Portland has seen from the band to date.

After a set by Jarrod Gorbel, Steel Train played to an energized and enthusiastic crowd that seemed to match lead singer (and fun. member) Jack Antonoff lyric-for-lyric. Though leaving the frontman duties to Nate Ruess during fun.’s headlining slot, Antonoff played the role well during Steel Train’s performance by maximizing every inch of the stage and every ounce of excitement in the room, seeming to challenge the audience to sweat or rock harder than he could. The band filled their set with sing-a-longs, five-part harmonies (“Road Song”), a Tom Petty cover (“American Girl”), and crowd surfing.

The endurance award of the night absolutely went to Jack Antonoff, who segued seemlessly from his Steel Train set into the fun. set list without missing a (no pun:) beat.

fun. opened with one of the night’s brightest highlights in the form of the rarely performed “Be Calm” which, as Nate Ruess revealed mid-song, was inspired by and written in Portland. The band also performed an unreleased track entitled “What the Fuck?” as well as “Dog Problems,” a song by Ruess’ former band, The Format, which the majority of the audience knew (and shouted) word-for-word.

Unable to remain still for more than a moment, Ruess works the stage and plays the role of the frontman well, keeping the crowd dancing and singing the entire time. Rarely one to be clandestine with his audience, Nate revealed, “every time I come to Portland, I get pink eye” and deemed this the best show the band had played in the city.

During their encore, fun. covered “You Can’t Always Get What You Want,” which was an impeccable choice, given Ruess’ occasional (and probably unintentional) ability to channel Mick Jagger during his stage time.

Though fun. has yet to bring a poor performance to Portland, this was by far their best, showcasing every aspect of what the band is capable of.
Steel Train kicked ass, too.

Click through to see how it all went down, via pictures:

Playing a wide variety of songs, Hoge hit all the spots he needed to in order to fulfill our Wreckage needs, as well as some timeless and obvious favorites from Carousel and Blackbird On A Lonely Wire. Pulling tricks out of his jacket sleeves all night, Hoge showed us that he doesn’t need the feminine backup vocals from “Goodnight Goodbye” to do the track justice, and also gave us a lesson in bad ass instrumental breaks when he wailed for a solid five minutes in the middle of “Doesn’t Have To Be That Way.”

The whole show wasn’t just a familiar set list. We got to hear a new song that will be on the upcoming record, too. Ladies should be comforted, because it’s about how guys understand that they don’t understand females, and that they’re lucky that the women in their lives still put up with them. See? It’s all in the effort!

At the end of the night, the band brought it to the crowd (literally) with “The Highway’s Home.”

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For more information on Will Hoge, visit willhoge.com.