I must admit, I was worried when The Black Keys latest album, Brothers, was released. I selfishly (and privately) felt that they might destroy the best two-person sound this side of The White Stripes. And even after listening to the album several times over, I still needed to see how it would stack up live to be truly convinced that The Black Keys didn’t lose the magic. I thought the Keys couldn’t possibly get any better than they already were.

They did.

After ripping through some classics like 10 A.M. Automatic, Girl is on My Mind (and envisioning that jackass drawing a heart on a frozen window) and Stack Shot Billy, Nick Movshon (bass guitar) and Leon Michels (keyboards) joined Dan and Patrick on stage for some new classics; the likes of Next Girl, Howlin’ For You and Tighten Up. The songs had more power than I thought they would. They were polished but still carried the Keys’ trademark “dirtiness.” Thing is, after seeing it performed live, Brothers kicks ass. The Black Keys have managed to enhance their sound, not detract from it. It was just the first day of 2011, but I already know that this show will go down as one of the year’s best.

Some videos are posted below, of varying quality from The Black Keys on New Year’s Day. The sound is not the best, but I recommend watching the vid for “I Got Mine,” to get a feel for the atmosphere – at least the first minute. The last video is from New Year’s Eve. That awesome photo, by the way, from Joshua Mellin.

Read our review of The Black Keys on New Year’s Eve, 2009.

Tighten Up

Click here to view the embedded video.

I’ll Be Your Man

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10 A.M. Automatic

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Everlasting Light (New Year’s Eve)

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The Black Keys New Year’s Day Setlist.

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(Video included) Love at first sight — catching the eye of someone on a train or across the room at a party and being instantly smitten. Love at first listen — hearing a band for the first time and knowing without a shadow of a doubt that I’ll be at their next show (and the next and the next), I’ll buy their next album and, even though I haven’t even heard the rest of the current one, that I’ll love it. Bands like Frisbie, Fanfarlo, Free Energy, and Freelance Whales (there’s got to be ones outside of the letter F, right?). Sure there is … Edward Sharpe & The Magnetic Zeros.

Freelance Whales

So, it was with a true thrill that I saw the double bill of Freelance Whales and Edward Sharpe & The Magnetic Zeros announced as a Lollapalooza aftershow several months ago. I knew it would be a hot ticket, but I endeavored to snap one up. I failed. As the day approached, I got a bad feeling that there would be tickets, but way out of my price range. A quick search of Craigslist revealed that not only were there NO sellers, but people were willing to pay $100 a ticket. Holy hot ticket. I held out hope that all the music karma I’ve put into the universe would come back to me — I’d get a ticket at the last moment on Craigslist or something. I was not disappointed.

I’d seen Freelance Whales before (they’ve been to Chicago at least three or four times in at least as many months) but I was starting to figure that my anticipation of Edward Sharpe and the Magnetic Zeros was more than deserved. I didn’t know if they’d been here before, but I suspected this was more than Lolla after-show hype. This was going to be something. What exactly, I had no possible way of knowing.

Freelance Whales started things off on a crowded stage filled with all manners of drum, keyboard, harmonica, glockenspiel and guitar. The five-piece, who hail from Queens, bring an instant energy to the stage — dancing and hopping along with the music as they play. Their enthusiasm is contagious and it’s hard not to be caught up in it all. The music is filled with contradiction; it’s both organic and electronic, it’s orchestral and synthesized. They manage to channel The Decemberists, XTC and The Postal Service (Judah Dadone’s vocals often are reminiscent of Ben Gibbard). But with their five-piece harmonies coming in big and bold on so many of the songs, as well as their obvious talent for songcraft, I suspect that one day people will eventually say that other bands “sound like the Freelance Whales.”

Edward Sharpe & The Magnetic Zeros

However, the night was yet to reveal itself. As the Edward Sharpe & The Magnetic Zeros show started, I looked up and there were instantly 10 people on stage. I counted. I counted them again. And the leader of them all was Alex Ebert, otherwise known as Edward Sharpe. His beard and hair along with white suit instantly evoke a picture of Jesus Christ, and the way he came forward to the stage to let the crowd embrace him, laying hands on him with a wild fervor did nothing to disabuse me of that visual. As the band started up and I re-focused my eyes back on the tableau of the stage, I was struck by the new visual that struck me: Partridge Family. Manson Family.

The band started and the crowd went wild. They were hopelessly, completely, instantly taken with this band, this man. They were disciples. They would have done anything he asked. Perhaps they were just hungry for the live presence; Edward/Alex said that he thought they had only been to Chicago two times before he announced that he “wanted this to be a party, and it didn’t feel like a party” so he crossed over the stage and got into the middle of the crowd to sing. He was Devendra, he was Brian Jonestown (without the anger and the meltdowns), he was completely wonderfully riveting and mesmerizing and I, too, would have followed him anywhere.

There have been musicals made from Billy Joel songs, from ABBA songs, from Green Day songs. I thought to myself: I want to make a musical from Edward Sharpe & The Magnetic Zeros songs*. There was always so much going on and so much to think about. Often, I had the sense that I was at a tent revival; the only things jarring me from that notion were the smells of pot and incense swirling around me at any given moment. Aurally, there were two drummers, two guitarists, a bassists, a keyboardist, a pianist, various percussionists and always “Edward” at the helm and sometimes joined on lead vocals by Jade Castrinos who had her own huge, commanding voice.

Even when they performed their most commercial song, “Janglin’” (it’s literally in a car commercial that’s played all the time), it didn’t feel over played. Instead, I believed them when they sang:

Well your wartime is Funny
Your guns don’t bother me
I said we’re out to prove the truth of
The man from Galilee
Well your laws are for Dummies, yes
Your institutions dead
I say we’re out to blow the trumpet
To wake you all from bed – from bed

It was so much — Neil Diamond, Elvis, Jim Morrison, Johnny Cash, the Mamas and the Papas. It was a gospel service, it was a hootenanny, it really was a big old party.  I was completely surprised and thrilled and sold on whatever they weren’t selling. I didn’t ever want it to be over and I can’t wait for it to happen again.

*Apparently, they’re on it: According to WIkipedia, “On June 5, 2009, the band released “Desert Song”, a music video which is part 1 of a 12-part feature-length musical. Part 2, “Kisses Over Babylon” was released November 24, 2009 through Spinner.com.”

Editor’s Notes: Our thanks to Jocelyn Geboy for writing this piece for Sound Citizen. Another note — this was one of the best concerts I’ve ever seen, no joke. Those late-night discussions where you list your “top five of all time” … firmly planted. Edward Sharpe & The Magnetic Zeros just make me freaking happy. And I like that.

Below are a few videos. I recommend watching all of them. The third video is an up-close view of Alex’s foray into the crowd during 40 Day Dream, the opening song of the set. Start that one at the 1:30 mark and keep watching … IT’S WORTH IT.

Edward Sharpe & The Magnetic Zeros, “Home”

Click here to view the embedded video.

Edward Sharpe & The Magnetic Zeros, “Janglin”

Click here to view the embedded video.

Edward Sharpe & The Magnetic Zeros, “40 Day Dream” (start at 1:30)

Click here to view the embedded video.

Freelance Whales, “Hannah”

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The past two weeks on SoundCitizen.com we reviewed Local Natives, interviewed and reviewed Clem Snide and made some Austin City Limits recommendations. Check them out after listening to the podcast!

And GO BLACKHAWKS!

This week’s lineup:

Jonny Rumble, “BRZRKR”
June 25, Beat Kitchen, Chicago

Visqueen, “Jimmy vs. James”
May 31, The Hideout, Chicago

Gold Motel, “We’re on the Run”
June 11, Lincoln Hall

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We were turned on to Local Natives about six months ago and, ever since, it’s been heavy in the rotation. They have these sweeping songs that, when you hear the first few notes, you can’t imagine that it’s going to end in well-choreographed chaos just a few minutes later. The hooks are quite simple but the way they are put together is anything but. These musicians are talented and shift with the utmost ease between epic songs and arrangements, stopping only to tune their guitars and occasionally switch instruments.

Then there are the harmonies. It’s really what makes Local Natives special. They somehow found talented musicians who also vocalize in perfect harmony. There can be as many as four of them singing together at once — it doens’t sound forced and it’s not overwhelming. I wouldn’t change a thing. In fact, I wouldn’t change a thing about this band or that night’s performance. It comes in easily as one of the best concerts of 2010.

You will notice in the video below some of the crowd reaction. It seemed that the crowd knew every loop and lyric to every song — no kidding. I even turned to one of the Citizens in attendance if they thought some of the crowd sing-alongs were being piped in. I don’t think so, but it was kind of stunning to hear such participation. You can get a sense of it with their performance of “Airplanes” in the video below. And if you want to hear even more of it, check out this performance of “Sun Hands.” The video is shaky, considering its producer was pretty excited at the time (understandably so). If you want to skip right to the chanting crowd, it’s starts at about the 3:30 mark.

Below the video are Local Natives’ remaining 2010 tour dates. You’ll notice a handful of sold out dates … jump on this tour when they hit your town.

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In most parts of the world it’s called “busking,” defined by Wikipedia as “…the practice of performing in public places for tips and gratuities.” Some people might call it “annoying.” But in every case, it’s not wrong to simply call it music. And some of these subterranean musicians are immensely talented.

Since we couldn’t hop on a plane and start traversing the globe for our search, we were limited to YouTube — which actually turned out to be quite effective. What you find below are some of the finest examples of subway music, or busking from around the world. Some are in the stations, and some are on the trains themselves. They are all quite interesting.

Moscow, Russia. These gentlemen play classical music of the highest caliber. I’m not certian, but people are commenting that this is Vivaldi’s Four Seasons.

Click here to view the embedded video.

Seoul, South Korea. This is an actual underground band, Los Andes. It’s music from the Andes, Chinchaysuyo. How cool would it be to see this on your way to work?

Click here to view the embedded video.

Paris, France. Paris is famous for musicians playing in the stations and on the trains themselves. This is Volare.

Click here to view the embedded video.

New York, United States. New York is truly a melting pot. This is Norteño music, from northern Mexico.

Click here to view the embedded video.

Chicago, United States. I’m proud to have these guys in Chicago. They capture the essence of this great city. Here’s It’s Alright.

Click here to view the embedded video.

London, England. This guy should be in a jazz hall. But then London commuters would be deprived. Here’s Sixteen Tons.

Click here to view the embedded video.

Prague, Czech Republic. Another underground band, of sorts. Incredibly elaborate — but I wouldn’t want to be commuting hungover with this…

Click here to view the embedded video.

Budapest, Hungary. Well known in the region, this is Club Era. Seriously this doesn’t look easy.

Click here to view the embedded video.

Stockholm, Sweden. These gents do it the old-fashioned way — simple harmonizing and no instruments. Starts at about the 25-second mark.

Click here to view the embedded video.

Montreal, Canada. I’ve never been there, but this guy seems entirely appropriate for Montreal.

Click here to view the embedded video.

There are surely plenty more out there. Do you have a favorite in your city? If so, we’d love to see them. Share a link below or, better yet, get out there and record them, and then let us know. We’ll post your locals in an upcoming Sound Citizen post!

In the mean time, here are three more that we didn’t want to leave out.

Budapest, Hungary. Playing glasses.

Click here to view the embedded video.

Tokyo, Japan. Only in Japan…

Click here to view the embedded video.

Philadelphia, United States. A little soul in Philly. Anthony Riley has a voice, and apparently a following.

Click here to view the embedded video.

New York, United States. Reggae in Union Square.

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G. Love (Garrett Dutton III) has a style that infuses blues, some hip-hop and even occasional jazz riffs into one rolling, steady rhythm. It’s one of those sounds that sticks with you immediately – you could hear it once, then not again for years and still know exactly who it is within the first few seconds. It’s rare in music to come across an act that stands alone, but this is just such an example.

Post-college, I kept up with G. Love and Special Sauce through the releases of Coast to Coast Motel, Yeah, It’s That Easy, and Philadelphonic. Then, for whatever reason, I lost track. That’s until a few weeks ago, when I noticed they were kicking off a tour, right here in Chicago at House of Blues, one of the finest venues in town. And as if fate intervened, a friend and fellow Sound Citizen scooped up tickets to the show and extended an invite to me. So thanks, Brad. I owe you one.

The show was part of a charity event hosted by Chicago Cubs broadcasters (and performing musicians) Len Kasper and Bob Brenly. Charity, local Chicago celelbrities and G. Love … and it wasn’t sold out? Interesting and perplexing, but fine by me. The thing is, everyone there had a long history with G. Love and the Sauce. So the crowd was just right.

It was a laid back night, to be sure. And no doubt, the 5,000 pounds of pot in the air didn’t hurt. Seriously, it’s the most weed I’ve ever seen burned at any concert – and I’m talking more than shows like Phish at Red Rocks. Believe it.

Well, we had a great time. I’ve heard that G. Love either brings it, or leaves it back home. This night, he brought it full force. Or, at least as forceful as one of his shows can be. I was teleported back to Des Moines, Iowa, when kegs were still tapped at frat parties and flannel was still hanging on. While those things have faded with time, G. Love and Special Sauce are timeless – I’m glad I was reminded of this, and encourage you to do the same.

Below is some video from the show – a compilation and below that is a performance of “Cold Beverage.” Enjoy. Listed below the videos are G. Love’s 2010 tour dates.

Click here to view the embedded video.

Click here to view the embedded video.

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“Chicago’s always good man,” Lewis told us after the show. “Out of all the three major cities, Chicago is number one.” There’s little doubt that Chicago doesn’t feel the same way about Lewis and The Honeybears after an inspired performance.

Black Joe Lewis and The Honeybears are a relatively “new” band, but their music comes from a place of old souls. Lewis evokes the likes of Otis Redding and James Brown; one of his influences, along with Lightnin’ Hopkins, Howlin’ Wolf and Eazy-E. While purists might scoff at those comparisons (likely they haven’t seen him live yet) consider this: James Brown scored his first R&B #1 hit “Try Me” when he was just 25 years old. Redding became a legend before his tragic death at age 26.

Another influence on Lewis is a man by the name of Little Joe Washington, whom Lewis talks about in our interview with him (see video below). Essentially, Washington is a street musician with paying gigs from time to time. And it’s that street-wise sensibility, improvisational flair and live-in-the-moment attitude that permeates Lewis’ music and lyrics.

Back in the day (just a few years ago) Lewis was working in a pawn shop. After seeing a number of hocked guitars come over the counter, he finally picked one up. “I got the guitar and just tried to learn it,” says Lewis. “My neighbors had a band. They didn’t have to work, all they had to do was play music. I thought; dude I gotta get in on that! I just tried to learn as much as I could. That’s how I really started performing … I hated my day job.”

Thank goodness for bad day jobs.

Below is a video from Black Joe Lewis and The Honeybears’ performance at Chicago’s Folk and Roots Festival, including a few different songs and interview footage of both Joe Lewis and keyboardist Ian Varley. Tour dates are below the video – go see them.

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That’s because Murdoch is one of those musicians who pulls you into his music, coaxing you to explore your own thoughts and deepest feelings. But it’s not a dark place. It’s comforting. Murdoch’s message is powerful, but his voice and his music can be transcending.

The show was eye-opening. We had some great footage – unfortunately our equipment didn’t cooperate. However, Murdoch was gracious enough to sit down with us afterward, and share a few thoughts on Chicago, his music, his influences (or lack thereof) and more. Below the interview is some video from a previous show.

SC: Great show, Alexi, everyone really dug it.

Murdoch: That’s really cool. I know that the tour hasn’t been heavily promoted, so the fact that people were out was just a really pleasant surprise.

SC: Are you familiar with Chicago?

Murdoch: Not really. I’ve played here maybe three times. I bought an amazing drum today, at a great drum shop. I’ve got to give a shout out – Steve Maxwell, man. That guy has got the most amazing drums. And there’s an amazing guitar shop, Chicago Music Exchange, it’s always a thrill.

I don’t know that much else about Chicago, I’ve walked around, I like the city a lot. It hasn’t got that uppity feel. It seems the people are just into it, you know?

SC: The first time I heard you was a few years ago. And the first thing I heard was Nick Drake. Have you heard that before? Is that’s something you feel good about or are you trying to differentiate yourself in any way?

Murdoch: I don’t think I really need to. I think comparisons abound, you know, it’s sort of inevitable especially in this current marketplace where everything needs to be compared to something else, unfortunately. So, I understand it. Certainly, there are a lot worse people to be compared to. He was definitely a very talented man.

SC: Was he an influence of yours?

Murdoch: Not really, actually. Oddly enough I discovered the British folk movement late, only a few years ago. I was kind of embarrassed because somebody came to a gig and said, “You must be a huge John Martin and Nick Drake fan,” and I didn’t have any clue who they were.

Since then I’ve discovered all of that lot, and Richard Thompson. I had the honor and privilege to play with him one time. It’s kind of weird. I found them sort of by accident, and it was kind of uncanny to realize I was part of a tradition without knowing that tradition even existed. Which I guess speaks volumes about being shaped by your environment. I grew up in Scotland, and I guess maybe something about that landscape creates that sound. I’m sure that somewhere those people had the same influences musically as me. But I don’t know, I’m actually pretty ignorant when it comes to music history.

SC: Where do you draw from? You have some really passionate music that speaks to a lot of people.

Murdoch: I don’t know, man. That’s sort of a hard question. It’s so hard to answer that question without sounding like an ass – “Well, you know, I really sit down and strip away all my ego, and really try to get at the truth…” But I guess, that’s really what I try to do.

SC: I’ll narrow it down a little bit. When you’re writing your songs and thinking about your music, do you feel like you’re trying to tell people something about yourself, or are you trying to get people to explore themselves?

Murdoch: Yeah man, I think that’s a very astute observation. Hopefully, if I’m doing it right, it’s both. But you’re absolutely right. I’m glad you said it and I didn’t. Because I would have sounded like a guy sitting on a very high horse.

SC: What are your plans going forward?

I’m excited about a lot of new music. I’m touring with this new band. They get better every night, I think we’ve played nine gigs together now. I’m hoping to cultivate that conversation with them musically. And maybe before the end of the year sometime or early next year, get in and make a new record. Also I’ve done some stuff for a film that’s coming out in a couple of months.

SC: What film is that?

Murdoch: It’s a small, kind of independent film directed by Sam Mendes. It’s a really sweet film, so I’m happy to be a part of that.*

SC: You definitely have a style – for lack of a better term, it’s mellow. Do you feel that limits you in any way, as far as getting to a broader audience?

Murdoch: I think that any limitations that may exist – maybe I’m a little too confident in the music – but I feel like the limitations wouldn’t be on the part of the music, but on the part of the audience; it’s not really the audience, actually, that’s short on attention – I think it’s just that the environment we’re in right now has been so saturated with a sort of commercial product that its kind of tuned people’s ears different. So no, I don’t think the music is limiting at all.

For me, I play the kind of music I like. I’m always surprised by how many seem to connect to it. I got an e-mail from a guy telling me, “I’ve only ever liked hard rock, but I heard your show and now I’m super into it!” So it seems that if you can reach people who normally wouldn’t like this kind of music – I guess maybe I have a crazy kind of faith in that.

SC: Thanks, I appreciate it.

Murdoch: Thanks man, no worries. Thanks for coming by.

*The film turned out to be the smash indie hit, Away We Go. Murdoch is featured throughout the Away We Go soundtrack

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