Should have wrote about this yesterday, but I got caught up in the Celtics game (they had no business winning) and then the season finale of Fringe (good but a little too Golden Compass for my liking).

Regardless, Montreal’s Patrick Watson made their first visit to Portland on Monday night and they were every bit as impressive as they were when I saw them as unknowns in 2007.  Of course it helps they had one of our favorite songs and albums from that year. It goes without saying that we’re excited they’re back on the scene, two years removed from their impressive introduction.

In fact, I’m pretty sure these guys have it in them to be considered in the same breath as Grizzly Bear, Dirty Projectors, Animal Collective, etc. when talking about the top tier of bands pushing the boundries of what pop music is and can be.

High praise for sure, but Monday night did nothing to dissuade me from that belief.  Their set was brief and filled with cuts off their superb second album Wooden Arms (Secret City Records), but the standouts were “Beijing,” “Traveling Salesman” and “Big Bird Small Cage.”

Surprisingly, they shied away from their Juno-winning 2006 eponymous record playing only the standout tracks “Luscious Life” and “The Storm.”  Still, despite that, the band delivered it’s trademark swooning, psychedelic jams with a plethora of offbeat instruments – kazoos, banjos, balloons, bazoukis, an octopus-like megaphone, etc.

The real instrument to hear, however, is Patrick Watson’s voice.  It’s an evocative instrument.  He doesn’t so much sing with it, rather, it’s used to swoop through songs providing a gorgeous counter-balance to the pulsing rhythm section and guitar licks.

Click here to view the embedded video.

Three things really stood out for me during the night.  One, they put on a scary good light show.  The duration of the set was basked in dark red light, or had giant shadows projected on the concrete behind them.  It was sultry and evocative of the music they play.  Secondly, I was taken aback by just how much their music is influence by early 20th Century German composition – specifically the theatricality of Bertol Brecht and Kurt Weill.  And third, I don’t recall their drummer being as top notch as he was.  Either he played off his ass that night, or the guy is something special.  He kept the whole show in check with his snappy drum fills and unique beats.

This is a guy and band who cares deeply about his audience, evidenced by playing several songs amongst the audience, even letting a girl in the audience sing the harmonies from “The Storm.”  She was good and Watson acknowledged that by essential letting her take over the song from him.  Few performers would have the confidence in themselves to do that.  When he was amongst the audience you could see how everybody would get quiet to soak it all in.

Click here to view the embedded video.

At the end of the night, after the encore, when the audience refused to leave, Watson brought his band out to the stage for one more impromptu song.  It’s a cool thing he didn’t have to do, but the tiny audience of 100 people or so wanted more.  The band had a little fun with it by doing an improv tune, taking ridiculous song-title suggestions until someone suggested they play the song “Brave Young Cowboy.” Patrick Watson and co. obliged by making the above song up on the spot.  It’s a very good little western ditty.  If you didn’t know it wasn’t made up on the spot, it would be easy to think the song was a B-side.

The first set was mostly newer songs. They were great songs but no one was familiar with them. He played a few gems: “It stoned me,” “Moon dance,” the songs off Astral Weeks and closed with “Gloria.” He also played “Georgia on My mind” which was really cool.

The thing was he never said a word to the audience, not one. He didn’t plan an encore. He just walked off the stage towards the end of “Gloria” and that was it.

I kind of felt cheated. So unless you have a nostalgic desire just to cross Van off a list of must sees before they leave this Earth, a la Bobby Dylan, Paul Simon, Neil Young, et al. you can skip it. The easiest way I can describe the show was that we were there to watch him play, but he was not there to play for us.

Even his decision to put The Fruit Bats on hold in early 2006 seemed like a curious one – a momentum killer for a band that finally locked down a steady four-piece lineup and released an amazing nature/romantic tinged third album. Just when he decided to shelve the band, music fans realized they were one of the most compelling pop-rock groups combining great lyrics, tightly written songs and excellent musicianship.  Essentially they became The Shins, without the benefit of Zac Braff’s sloppy wet kiss.

There’s no indication as to why he wanted to put The Fruit Bats back together at this point in time.  Three years is a long time in the now and gone world of internet media. But if I were to hazard a guess, I’d say he built up some financial security playing with The Shins and missed his own creative outlet. He’s too good a songwriter and singer to be playing rhythm guitar for another band.

“I almost retired the Fruit Bats name, because this is such a different concept,” he told the Willamette Week. “But we decided not to. We couldn’t think of another band name, anyway.”

The different concept, a newly retooled lineup, rolled into the Mission Theater with a half-dozen new songs, several old favorites and proof that the most interesting aspect of The Fruit Bats hasn’t yet happened yet. 

The biggest difference in the new lineup is the addition of drummer Graeme Gibson, formerly of Chicago’s The Boas. He plays the drums in the same vein as Keith Moon, always attacking and pounding the kick drum with abandon – so much so, that he broke his snare midway through the show.

Nowhere was his addition felt greater than on “Rainbow Signs.” What was once a delicate mid-tempo song from second-album Mouthfuls was transformed into a jazzy triple-time country funk barn burner.

They closed the night with arguably their most crowd-pleasing number “When You Love Somebody” and then came back out for an encore cover of Neil Young’s “Helpless, Helpless.”

It’s fitting they closed with a Neil Young song. Eric Johnson clearly has a thing for Young, blending those traditions of country, rock, blues and folk. He also shares Young’s ability to damn the torpedoes and follow his unique musical path, wherever it takes him.

This isn’t even the same band, with the exception of Eric Johnson. Now The Fruit Bats are a confidant muscular rock band. Similar to their previous DNA, but now ready for their next evolution. They hop into a recording studio in two weeks to lay down tracks (several they played) for their fourth studio effort. It should be worth the wait.

New Song #2

Sorry I didn’t catch the name of this tune.

Tegucigalpa

Of all the new songs, this and “Blessed Breeze” (which they opened the show with) sound like early highlights from the new album.

The Fruit Bats – “Tegucigalpa (new song)”
The Fruit Bats – “Untitled New Song”
The Fruit Bats – “Helpless, Helpless (Neil Young cover)”

However, there is much to hate about the festival and that all stems from the planning by the Willamette Week.� Twice now, I’ve bolted concerts to go to another location and twice have been met with long lines and the inevitability of disapointment.� On Wednesday it was making a break for the Mogwai show at Roseland Ballroom after being slightly disappointed by the lineup at Berbati’s Pan and last night it was leaving M. Ward midway through his set to see Starfucker and Deerhunter across town at Holocene.

Of course, not knowing anything about Holocene (cut me some slack I just moved here) I assumed because Deerhunter was playing there that it had to be a large venue, right?� That’s a good assumption to make.

I was met with looooooooooooong lines both times.� Last night was especially crushing because both Starfucker and Deerhunter were high on my list of shows to see, though I never imagined that they would schedule Portland’s most popular local band and one of the most popular festival bands back to back in the tragically tiny Holocene.� But this is Portland and that’s what happened.� Seriously, there’s something askew about this town and one day I’m going to put my finger on it.� The whole Deerhunter episode is indicative of that, but I’m not quite sure how it’s connected to long lines at coffee shops and waiters who could care less about serving you and buses that run whenever they want.� I know it’s all connected somehow.

You could hear the grumbling from people in line about why on god’s earth would Deerhunter be playing Holocene, especially given that the Wonder Ballroom wasn’t being used. One guy jokes, while leaning up against garbage cans, “Now this is how I imagined my night going” and another girl, upon seeing the monstrously long line said with utter defeat, “Can this day suck any more?”

Sucky for sure.� Still, I got to see No Age at the Wonder Ballroom and they totally rocked my socks off.� I didn’t know much about them accept for reputation only and shit, those two guys played louder and more furiously than I was anticipating.� It was just an hour of high-tempo, hard hitting music.� Battles followed them up and it’s safe to say, I can appreciate the band for what they are, but not my cup of tea.� I thought, perhaps they would sound better live but no.� Better on the record.� They are a band that’s good in theory, but again it takes a special person to love the sort of mathy-prog-rock that sounds like smurf music on acid and I’m just not that special.

We’ll have more in depth looks at the bands tomorrow. As for tonight we’ve got Britt Daniel of Spoon going solo acoustic.� Well, I’m not positive about the acoustic part but definitely solo.� And then Built to Spill performing their album Perfect From Now On in its entirety.� Then, busting ass to the Crystal Ballroom for Lackthereof, John Vanderslice and Vampire Weekend.� Maybe.� I still really wanna see TV on the Radio, but I’m not waiting in any more lines.� If that happens than I’m putting the entire city of Portland on notice.

The Duke Spirit find themselves in a place many bands often do: their sound is too big for small places but not really anthemic enough for some of the large venues.� It’s clear that in a year or two, with a lucky break here or there, that Leila Moss and company could catch a wave of popularity.� Surprisingly, there was only a small audience there last night of very appreciative fans.

I’ve seen The Duke Spirit a few times now and regardless of audience size or venue they’ve played each show like they’re the biggest band in the world.� There’s very little stage banter, lots of swagger; it’s just an hour and a half of straight music.� That wonderful mix of psychedelic blues and Sonic Youth-style rock.� Leila prances around the stage and has developed a comfortable presence – really letting her freak flag fly.

As one of the peeps I was with last night said after the show, “She’s the coolest girl in the world.� She really is.”� And isn’t that how a rock star is supposed to make you feel after a blistering set of scuzzy tunes?� Like there’s nothing the average person could do to compete for coolness points?

The band relied heavily on material from Neptune, which is one of my fav records of 2008, and also played several choice cuts from 2005’s Cuts Across the Land.

I’d be remiss if I didn’t mention the opening band Reporter.� They’re from Portland a damn what an impression they made.� They sorta sounded like a strange combination of The Pixies covering Ennio Morricone.� All three members were exceptional and together it sounded like they’ve been playing forever and have developed something all their own.� They’ll be playing the PDX Pop Now this weekend, so if you get the chance to, check them out.

Now, don�t laugh

Or do, because really, that�s the point. As a 20-year-old self-professed �hipster� who went to see Weird Al last Friday night, I have no right to take myself or my scene cred too seriously.

Weird Al Yankovic�s Straight Outta Lynwood Tour began in March 2007 and reaches its last leg this August. This tour celebrates two significant firsts for Al: his first Top 10 Album (Straight Outta Lynwood debuted at #10 on the Billboard Charts ) and his first Top 10 Single (�White & Nerdy� debuted at #28 on the Billboard charts, but quickly shot up to #9). Both the album and the single have since gone gold.

Pier 6 Pavilion in Baltimore is a pleasant, if somewhat small venue found in the city�s scenic Inner Harbor (newly renovated! Thug-free!). This Baltimore isn�t the Baltimore of The Wire fame. You�re more likely to find tourists and yuppies here. I wouldn�t recommend walking the streets alone at night, but that goes for most major cities. Pier 6 usually houses �has-beens��this summer Hootie and the Blowfish as well as Donna Summer are playing�but a few gems pop up every now and then (The Avett Brothers, G. Love and the Special Sauce). I saw Nickelback there when I was 14. I don�t want to talk about it.

The Gates opened at 5:30, but the show didn�t actually start until 8:30, much to my boyfriend�s chagrin (he was convinced the show would start within an hour or so. �Al wouldn�t do that to us!�). Not to worry though, Spaceballs played on the screen on stage while we eager Al fans waited. A nice touch, even if the sun made it difficult to see anything. Al�s fans�from families with prepubescent children to the 20- and 30- something societal misfits�filtered through the doors and filled up the majority of the pavilion�s seats.

I have to hand it to him, Al is a great showman. His show is family-friendly (no more risqu� than your average Simpsons episode), but thoroughly entertaining. It�s a nice change from smaller bar venues where the main act might show up too drunk to perform, but make a valiant effort anyway. Changed costumes for nearly every numbered, but filled in the lag time with clips from a documentary I�m told is exclusively available on tour and contained very funny interviews with Jessica Simpson, Eminem, K. Fed, and other Al-related clips. He started with a polka medley (naturally), went through a few recent hits (White & Nerdy, Trapped at the Drive-Thru, the Saga Begins) and hit some of the old greats, too (Eat it, Fat, Gump). He even did Amish Paradise, another first for this tour after he recently made amends with Coolio. It was a fun show, which certainly makes up for any cool points I may have lost in the process.

And now, to listen to �Gump� until I can get it out of my head.

I didn’t even realize 50 Cent was still making music.� Shows how little I know.

The New York Times has a piece about 50 Cent’s tour to promote his new album, “T.O.S.: Terminate on Sight”�apparently someone didn’t tell him that “on” doesn’t need its own initial, but whatever.

Since getting shower-screwed with album sales by Kanye West during that much-hyped, totally-boring hullabaloo a while back, 50 seemed to slip into obscurity.� Sure, he got a videogame�50 Cent: Bulletproof�which scored a predictable 47 out of 100 on Metacritic.� And sure, that videogame, somehow, is getting a sequel called Blood in the Sand, but what happened to the music, yo?� Wasn’t he supposed to be some sort of epiphany amidst crushing staleness in the rap scene?� Or were we all duped into believing something may actually change in gansta rap?

Anyway, the article is incredibly sad.� It details 50’s latest attempts to rise again to some semblance of cultural importance by unsuccessfully starting new media feuds and meanwhile experiencing poor album sales.

Author Jon Caramanica doesn’t have a lot of positive things to say about Terminate on Sight and hints that 50’s last shreds of, well, anything come from his previous works, all of which were unimpressive in and of themselves.

Being a 25-year-old 85-year-old, I won’t ever listen to the album, but if you do, readers, lemme know what it’s like.� I’ll probably ignore what you say but hey, that’s show business.

The Duke Spirit played a brief, but incredible set last Thursday.� They’ve become more polished since the last time I saw them and relied on the majority of cuts from their sophomore album Neptune. Still, they haven’t lost the roughness of their sharp, shoegazer style of blues.� They played loud and vicious and unhinged.� It’s a sound perfect for small venues – a sonic wall derived straight from My Bloody Valentine, Sonic Youth, Jesus & The Mary Chain and The Velvet Underground.

�

Frontwoman Leila Moss is captivating as she shimmers around the stage, banging a tamborine and yelping from the bowels of her soul.� She is banshee, a lioness, a frenetic force of energy.� The band around her is a tight unit, led by guitarist Dan Higgins and drummer Olly Betts.� It’s a good night when you’re only complaint is they didn’t play longer.