Beach House’s sold-out Bowery Ballroom show is a prime example of a broken ticketing system that needs attention immediately. Many bands are already using will-call only methods to avoid scalpers. Unfortunately, no such system was in place for a band that is almost ready to burst out of indie stardom and into mainstream headphones. Many hardcore fans were left without access or ended up paying up to $120 a ticket for a $35 show. Let’s hope Beach House decides to add additional shows in NYC later in the year and incorporates a ticket brokering system that keeps scumbag scalpers from exploiting the growing popularity of the band.
Although I saw Ed Droste and Julian Casablancas in attendance, the crowd at the Bowery was one of the lamest I’ve ever encountered. Not since Radiohead at Roseland during the Kid A era have I seen more fair weather fans at a show. A good portion of the crowd obviously had more interest in upholding their indie cred by “saying” they were there instead of actually “being” there. Constant shuffling to the bar and non-stop conversation at all ends of the venue took away from what turned out to be an incredibly engaging experience. Victoria Legrand’s voice was absolutely mesmerizing the entire night. Her enthusiasm was contagious, especially during moments she began headbanging during Alex Scally’s guitar solos. She was appreciative of the crowd’s energy and thanked the audience for being there several times. Scally seemed a bit irritated by the crowd, and at one time during the show reported that he’s “never seen a quieter crowd at a sold-out show. It must be all the press taking up space.”
There were countless highlights throughout the night, including epic performances of new songs “Other People” and “Lazuli.” “Wishes” is not my absolutely favorite track off Bloom, but it translated into one of the best live songs I’ve ever heard. One fan behind me even confirmed my feelings by yelling “just play that song over and over again the same exact way!” Scally’s guitar, the stop-and-go instrumentation between Legrand’s vocals, and the synchronized light show was intoxicating. The band appeared to muff their first attempt at “Myth,” the first single from their latest album Bloom, and needed to start over after resolving some technical issues. Legrand told everyone that she’s not worried, as “it happens to every band.” Her confidence didn’t waiver, and the live rendition was immaculate. “Myth” ended the set, and the crowd immediately begged for an encore. The band played three more songs and ended with Bloom closer “Irene.”
One drawback throughout the set may have been the use of backing tracks for the various layers in the songs. While there was a live drummer, much of the percussion was still programmed. And much of the atmosphere heard on their recordings did not come from the performers on stage. I do hope the band begins to expand the live show and takes notes from someone like Caribou when bringing songs to the stage. Despite the disinterested sections of the crowd and technical glitches, this show was still my favorite of the year so far. If you have the opportunity to get tickets before the scalpers, I couldn’t recommend any show at the moment more than this one. Beach House is a revelation.
An anxious crowd looked on as Grizzly Bear members Daniel Rossen and Christopher Bear set up their own equipment. After an exhausting three-night stint in New York and another gig in D.C. the night before, I wondered if the Brooklyn-based band had enough left to give a performance that would live up to the impossible hype that has built preceding the release of the brilliant Veckatimest. I saw Grizzly Bear once before back in 2006 when they opened up for TV on the Radio (also in Philly at Starlight Ballroom) but did not pay them much attention. Last night at The Trocadero in Philly, it just took the opening notes of “Southern Point,” and the entire crowd realized we were in for a something memorable.
Grizzly Bear founder and frontman Ed Droste promised early in the show that he had a special guest joining them later on in the show. About mid-way through the set, Beach House songstress Victoria LeGrand joined the band for a riveting performance of “Two Weeks.” The band continued playing mostly from their latest record with a few tracks mixed in from their sophomore effort, Yellow House, including “The Knife,” “Little Brother,” and an intoxicating performance of “Colorado” as an encore. As good as Yellow House was, hearing Veckatimest live was something to behold. Daniel Rossen’s guitar was stunning, especially on personal favorites “While You Wait For The Others” and “I Live With You.” Ed Droste’s slightly processed but wide ranging vocals were also a highlight. Droste’s voice mixed with the atmospheric instrumentation of “Ready, Able” led the crowd to a collective swoon. I was slightly disappointed that Droste didn’t play Veckatimest closer “Foreground,” as he did in each of the NYC shows.