Al P

The Sinclair is a clean, intimate feeling venue and was a perfect size for the type of show Baths put on. I tend to be a fan of smaller venues that manage to avoid a claustrophobic feel. I also like the way handles events. In that regard it felt like an event twice its size, but of course the size of the venue is what keeps it close. The staff was friendly and polite; I didn't feel like I was being herded and that if I stepped out of line I would get thrown out. Overall very positive experience and I will be back. My only complaint was that the air got a little hot an stuffy by the end, but then again I recognize the negative environmental impacts of running HVAC systems for large spaces. Artistically, I loved the musicians. Another really amazing thing that stood out (because it usually doesn't) was the quality of the lighting design. It complimented the artist's performance well without stealing the show.

This was a great show. I only showed up for Classix and Holy Ghost! So cannot comment on the opening acts. The show had a great vibe and people were in good spirits. The dancing was in commital (some shoulder movement and a little bit of foot shuffling) but you could tell people were into it. The MC's that were there brought the energy that you would expect. I would easily see this show again.

Since when was Robin front man and lead singer bogus. Put Barry back in front where he belongs

Southern Comfort was a great band to see. The only thing I didn't think was all that great was the speakers on the sides. Wasn't loud enough or the acoustics seemed off.

Whether you like his creative direction or not, his stage presence gets better with every show. He brings musical intensity and humor together brilliantly.

While I thought Abe Vigoda played well, the overall show lacked enthusiasm. I was disappointed in Wild Nothing. Again, they were just so-so. I'd also describe it a ho-hum. A very forgettable show. I left before it was over.

Doors was suppose to open at 6 but didn't until almost 7 (the time the concert was suppose to start). The seats were not arranged like they were online when I purchased my ticket. Paid for a center stage seat and they put us on the side of the stage with a screen in front of us. Plus they had open seating even though you paid different prices. So with the seating mix up the show started late. Was told that ticketmaster changed the seating chart last minute and that they did not send scanners for the tickets so you could have made copies of tickets and attending the event. So when they finally started the Temptation Review sounded really terrible (no band). Eric Benet sounded great! SOS Band all their songs sounded alike with too much base. Eddie Levert was suppose to be on stage about 10:30 but because they were late he didn't get on stage until late in the evening when most of the people had already left cause the crowd was majority elderly people. He mentioned that because they were late he was still sleep and they had to wake him up to come perform. He then cut the show short because his time was cut. The comedian (Lightfoot) was the show.....He was excellent!!!! Now I would pay to see him again! This event was not well organized or professionally done. Was very disappointed with the event.

Wow, a musician using synthesizers, samples, keys and other electronica actually shows up for a concert with instruments and performers and then proceeds to play music!! I suppose I should avoid beating the dead horse that is the Sleigh Bells live show, but I must say that I find their approach disturbing (similar to how I felt when Ashlee Simpson was busted for lip synching on SNL), and I hope that it s a trend that soon fizzles in other words, Get A Band! A couple of weeks ago, I stopped by the Bowery Ballroom to see an intriguing electronic synth pop artist nicely demonstrate how to translate studio gadgetry into a compelling live performance. But first, I must make note of the weirdness that occurred that evening before the headliner took the stage. The opening band consisted of a young female guitarist named Sophia Knapp (who was definitely not weird) and her band. Knapp s set featured bluesy, nostalgic sounding guitar rock reminiscent of Anna Calvi, but her songs evoked more of a discoey/funky/jazzy late night north of 110th Street (how about a mash up of Donald Byrd and Giorgio Moroder? okay, a stretch), whereas Calvi s mood and arrangements recall Ennio Morricone and other 1960s spaghetti western composers. The second portion of the show featured an unfortunate performance from a band named after their singer, Mac DeMarco (here s where the night took a turn toward the unpleasantly bizarre). Evidently somewhat intoxicated, DeMarco constantly mocked the audience during and between songs, and his band wasn t prepared to fill the entire set. About three-quarters into it, he asked the sound mixer how much time they had left. When informed he still had twenty five minutes to fill, he responded, holy [expletive], what are we gonna do now? The band then proceeded to execute a series of lame stunts to presumably kill time. They began this digression with a stupid, boring jam session featuring the lamest drum solo I ve heard since I hung up the sticks, during which they invited a random audience member to come on stage and play a bass solo. DeMarco jumped into the crowd in the middle of the final number and forced a random female audience member to dance with him, sending the bouncer into a near panic attack as he manically waved around his flashlight. After the set, the band stayed on the floor and continued to rollick around near the front of the stage during Nite Jewel s set. Nite Jewel, whose real name is Ramona Gonzalez, actually kicked DeMarco in the head during her encore, but later claimed they are old friends. The evening was ultimately saved by a great performance by the headliner. Gonzalez takes a creative approach to bringing out her electronic blips and bleeps into a live performance using a full live band. The touring version of Nite Jewel consists of the short but adorable Gonzalez who sang and played keys, a guitarist who alternated between electric guitar and bass, a synth player, and an attention-grabbing drummer a large and technically proficient black woman alternating between both an acoustic and an electronic kit, producing a large spectrum of interesting sounds. Most of the songs in the set consisted of synthy dance pop tunes, especially at the outset. To my surprise, Gonzalez was already on to what I consider her best song, and first single from the new album, One Second of Love by the second number. Most of the songs from her new album are pretty good though, and those combined with a cache of great tunes from her first album and EPs provided plenty of cool stuff to keep the evening interesting. After One Second of Love, Nite Jewel slowed the tempo down a little and wove some slower pieces in with her more synth poppy dance music. Her encore consisted of three songs a ballad called Clive accompanied only by the keyboard, a cover of a rare Roxy Music B-side (Lover), and a slow-tempo synth poppy tune, We Want Our Things. I knew there was a reason beyond her tunes that I liked Nite Jewel even the slightest mention of the 70s forerunners of British punk and new wave, Roxy Music, is enough to melt me like butter so the cover was a nice reference to a probable major influence on her music. My only complaint with the show was that Gonzalez divided up the playlist evenly pulling from her full length albums and EPs, where I was hoping for more from her new disc. All in all, however, Nite Jewel s performance allowed me to forgive her for any shortcomings (including inviting the hot mess Mac DeMarco to the bill), and the show greatly raised my esteem of her recording efforts her new album is top ten material so far in my book, baby.

Fantastic group. Great harmonies and melodies. Lyrics were moving.

These guys are so funny, what an amazing night. Hope they are in our area again soon! I would definitely go again!