Friday, March 30, 2007

Press wagon

The Metro asked us two questions of what we'd do with fame, seen here (click to page 19).

Who: Cassavettes
What: Country rock
Why do you deserve to
win? “Ay, them’s fighting words, boys.”
Recipe for world peace?
“Steal the song from ‘Bill & Ted’s Bogus Journey’
that brings world peace through their laid-back message of love.”


My personal favorite response is from Age Rings:
Why do you deserve to win? “We do?”

At the same time, The Boston Herald announced their Rumble predictions today, picking us to give Aloud a run for their money, and still wind up a wild card. Fate could be worse.

Monday: Night 2 -- Cassavettes, Aloud, Ark Royal and Baker. The Herald selects: Aloud. The arena-rock showmanship of Aloud pulls out a close one against the alt-folk uprising of Cassavettes.

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Thursday, March 29, 2007

More Rumblings

Scott and I mixed it up at a Rumble pre-party the other night, bowling at Kings. Twas a good time. A rundown: Scott stole my boots. I asked Shred for help. Some dude bought us shots. Chris got sick and angry. A good time was had by all (except perhaps Chris).

Continuing on the buzz about who will win the big gig, someone picked us to advance (though I'm having some difficulties with the page now and he misspelled our name).

Rumble picks Slim pickings for talent this year. You can find me at the club (Harper's Ferry) on Sunday, Tuesday after rehearsal and Thursday. You can listen to all the bands here. My picks: The Silver Lining, Casavetes, Protokoll, UV Protection, Township, Eli "Paperboy" Reed. Wild Cards: Aloud and The Self-Righteous Brothers


Hmm...

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Tuesday, March 27, 2007

Rumble rumblings

Right now, I feel the Rumble should be our main concern. We have to knock it out of the park. If we don't, we don't. But if we do...

Anyhow, of the small amount of predicting I've heard going on, most people (although much of this is coming from The Noise, not that that's a bad thing) expect Aloud to knock us off the first night and Eli "Paperboy" Reed to take the whole thing (I'm inclined to agree after his Austin performance). Which is nice, because all of this means: No pressure!

Anyhow, here's the latest I've read, where this blogger reasons that Aloud should have been in the Rumble three years ago and that Baker is the runner-up of Round 1, Fight 2. Where does that put us in his ranking then? Ha. I guess we'll see.

Either way, we'll have a good time and hopefully make some noise. But still, I stress how important this is to us, and how the fans need to get rowdy. So please come prepared.

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Industry interest?

So, the buzz in the band over the past few days has been about a possible connection we made at SXSW. A Nashville-based label whom Matt and I (mostly Matt, bless his heart) chatted up wrote us an email saying he listened and liked what he heard. He has now made phone contact, and Matt spoke with the owner today at length, then briefed me after my class.

The whole deal sounds vaguely familiar, with a few twists. Essentially, this guy is willing to work on our next formal record -- most likely funding it for a return of costs and a cut, while shopping it, or allowing us to fund it and getting the project and its product into the right hands. Funding it ourselves would be astronomically expensive, but possibly doable. Regardless, we aren't at the phase to make LP2 just yet. So, this guy's company is just a good contact for now, and a resource for later. Last year, we had a similar offer from someone who wanted to have a role in putting together the album, distributing, etc. This sounds like the same sort of thing, with more money, more contacts, and more upside in general. So, it's a good contact, but just not something for us to use right now. We aren't talking about "signing" to a label, but instead just working together on the next project, probably in Nashville, and seeing what comes of it. Or maybe we won't do it at all.

The truth of the matter is that while this guy likes the record, he doesn't love the record. Fair enough. We know we're not at the stage to floor people just yet. But when they tell you they hear enormous potential, that's the money phrase. I, too, feel like we have a lot of good things in store, and like our current work isn't even close to our best work to come. Which isn't to demean the last two albums -- they are solid jumping-off pieces. Besides, we're not ready to be confined to a label yet, unless it's a really sweet deal, because we'd like to maintain control as we're still carving out our "sound." So, for now, we just keep doing what we're doing.

Matt and I spoke for 35 minutes and talked about the direction of the group over our next few steps. As I wrote in my Boston.com blog, we had a length discussion in Austin over touring and decided that we should test the waters first. So, first things first, I'm going to finish school and the band will stay busy until then, playing the Rumble, a couple prominent shows, taking a month or so off to work on new material, etc. When I'm out of school, the idea is to hit the road in smaller doses at first -- maybe a couple weeks in the fall -- but mostly, keep building in Boston and writing fresh material. In the winter, we'd like to do a larger tour, maybe the entire east coast, backed by radio promotion through a company we're working with right now. Then, for the first part of 2008, back to Boston for a bit, before a little bit more touring surrounding SXSW next year. And that takes us through the next 12 months.

After SXSW 2008, we should be playing tight as hell and have a firm grasp on what songs are working and what aren't, therefore, we'll be ready to record LP2. The band has discussed doing pet projects in the meantime to test out material, which I've got some awesome ideas for, but we don't want to do another formal, money-hogger for awhile. When the time comes, probably about this time next year, I think we'll be ready to call this industry contact back. But who knows what could happen in the meantime?

We'll just keep doing what we're doing and work ourselves into a touring groove as much as we can. The main thing for now is to keep improving and keep our eyes on the prize, whatever that may be.

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Sunday, March 25, 2007

You can't please everyone

Here, I post everything. Even if it's bad. So, a blogger came to the show last night and went gah-gah over Hallelujah The Hills (not surprising; they're awesome). But yeah, not much of a taste for us. Ah, well.

If you want any dirt, your only consolation is that I thought the headlining band of the night, Cassavettes, was not so good. They were adorable though.


To each his or her own. That's the way it goes.

On a more positive note, Alex from The Sterns mentioned us in the Herald for his SXSW wrap-up. Pretty cool!

Also, Matt told me about a Rodfest review in The Noise that we all somehow missed! It's here, if you scroll down, and they have some notes for us.

When Cassavettes hit the stage, I can see that this group has a strong following: their fans are very enthusiastic. Their songs have a nice craftsmanship; they’re well constructed, tight, and pleasing. They choose a couple of tunes in their set that are a tad low on energy but they are completely capable of rocking out. Maybe it's a lesson to be learned: put a great deal of thought into the set list, especially if, like Cassevettes, you actually have talent.


I figure set lists should ebb and flow a bit, so that's where that comes from. We always try to start hot for 3-4 songs, cool it down, bring it up slow, and end hot as hell. That's the gist. Thanks for compliment on the talent!

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Great Scott!



You know, the day after I wrote my last post, I was feeling better about the band than ever. I was excited to practice, and excited for our next show. It felt liberating in a way to express some deep concerns. Either way, it translated to a productive practice and a fun show.

Last night, we headlined Great Scott for the second time, but for the first time on a weekend. It was a pretty big deal and a nice homecoming. The bill was eclectic and smaller, with Lady of Spain and Hallelujah the Hills. Lady of Spain was really cool and talented, and I'm going to try to set up a show with them in NYC soon (they're looking to get on the road, and I'm always down for NYC). My only concern was that HTH should headline, especially since a lot of Allston folks came to see them (and because they're an incredible band who just signed to Misra). Sure enough, after their set (which was amazing) a steady stream of people started exiting the club and we set up quickly. While some left and didn't come back, there was still a large crowd there, a lot of whom I didn't know which is always good. And, as a testament to our playing, once we were onstage, I saw hardly anybody continue to leave, even when it was time to catch the last train home in the snow. Plus, most people seemed pretty into it. We got a nice chunk of change for the show, too, and since it was hosted by the Northeast Performer and Pump Audio, we met some really cool people doing some awesome things for independent music. I met the magazine's editor, a younger guy who plays in the band The Main Drag, who I've heard good things about and intend to check out when they play the Middle East with HTH next month.

Anyhow, I think opening with "The Nadir" was a crucial move. Following HTH, it kind of set the tempo a little lower than normal, but then built up into "On The Lam." Plus, I finally played that expensive guitar I bought last summer for an entire show. It's a really cool guitar, I just can never get the sound I want out of it with the band. But last night it sounded pretty cool, ESPECIALLY on "Shotgun Wedding." The band really played well, too, we were pretty tight through most of the night except a couple botched parts in "It's Gonna Be Alright." So, yeah, the night ended up being really cool and I think everyone had a pretty good time. I know I did. Did you?

Oh, and Caitlin did get me the Metro clips from last week. All three of them! One talks about the show and declares, boldly, "Cassavettes and Hallelujah The Hills sit at the top of Boston's indie-rock heap." Whoa! Nice to know! The Pump Audio guys, who had come all the way from NYC for this, said that they'd heard our "loud buzz" and were really impressed. So, I guess we're doing our jobs in promotion!

SET LIST: The Nadir / On The Lam / Shotgun Wedding / Carolyn, Don't Leave Like This / Debts / Seasons / Like Secrets Beneath / Loose Lips / Trouble From The Start / It's Gonna Be Alright / Shine A Light

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Wednesday, March 21, 2007

Ease your worried mind

Lately, I've been having this really bizarre feeling of insignificance and self-consciousness about songwriting. I was explaining it to Jimmy when I was in Texas, but whereas once upon a time (during my time is Duffer), I'd produce dozens of songs a week, now I have a slow trickle of tunes, most of which I scrap without a second thought.

I feel like since college began, I've been more protective of my songs for some reason. For awhile I called this phenomenon writer's block (or blamed it on being ridiculously busy most of the time). It's true, I do feel less inspired in Boston than in Texas; this I readily admit, mostly because Texas gives me a lot more space to think. Driving around in a car and collecting my thoughts was always my favorite source of inspiration. Or sitting by Lake Lewisville. But when I was in Duffer, I was producing boatloads of material, some of which I was so-so on, some of which I liked, and some of which I really liked. I'm still proud of some of those songs, even for how young we were. So, why do I feel so detached from my most recent songs?

The lyrics are better than ever, the songs carry more emotion, and yet, they just don't feel like they're mine. The sound becomes something else, something alien, and sometimes it works while other times it just makes me want to call it all off, to be perfectly honest. The songs seem to have drifted away from me, due to the heavy expectation I put on each one and the overthinking that is the natural result of that line of thought. Yesterday in practice, I was being so dramatic that I was disgusted by the mere thought of playing one of my "approved" (meaning, a song that made it onto one of our two albums) songs, and thus played Mike's standards and new tunes until I finally gave in and played "Whitewashed" and a couple less heinous offenders of my own pen. This put me in a spaced out, bad mood which Matt observed, though I was doing my best to recover from it.

I think the best thing about the best-ever songs is the spontaneous flow of the tune, where it really reaches its natural element -- in my own life, songs like the original version of "Set Free," MK and I's tune "Like Secrets Beneath," and, the grandaddy of all live recordings, the recorded-as-it-was-written closing track to my first EP are the closest to capturing that vibe. Dylan (whose "Nashville Skyline" I'm writing a paper on, and thus I am completely immersed in) is famous for doing live cuts in the studio, something I wish we could do. But in order to pull that off with a band, you have to have a band that has that natural feel for one another that the song is magic the first time it's played and laid down. They really have to connect to and feel the groove, then deliver the song through sound. This group of musicians, and myself, by no fault of our own, just doesn't have that. In order to nail a song, we need to practice and learn (even then, we rarely deliver a song perfectly, due to what I perceive still as the lingering notion to play for ourselves, rather than the song: a nonsensically-placed drum fill, a guitar lead that somehow overpowers the rest of the song, etc. While this has improved, often in the heat of performance, one of us will try to pull something off that just doesn't work, rather than steadily keeping the song flowing. Sometimes I fear dropping out of a tune because it loses so much of its punch with even one sound lost, which isn't the way it should be. So, that's still something that needs to improve and be worked on). Then maybe we can do that spontaneous stuff. However, when you practice a song hundreds of times, you start to lose the emotion of the song, the magic, and it becomes dull and overwrought (and maybe the ensuing boredom is what causes those nonsensical live moves that end up smearing a song). Either way, due to this process, I'm now experiencing this bizarre self-doubt, something I never have before.

I hate to seek approval for my songs. In theory, I should be writing for myself and the listener (I feel I am), and to hell with the rest. But with so much emphasis placed on getting to the next level, I'm constantly evaluating and re-evaluating my songs, Mike's songs, etc. So, I repeat, overthinking a song is drowning me.

All of which makes me wonder: Why, then, did I never experience this emotion with Duffer? My guess is that since Duffer was an irregularly-practicing, once-in-a-blue-moon-gigging band that was built for the studio, and as such, I just let the bulk of the songs remain in my mind until I could fill them out with the sound I wanted in the recording sessions. This worked beautifully for a control-freak like myself, who is still grappling with the idea of a band with equal amounts of input (there, I said it). As I told Jimmy, he was much more the session-type of guitarist, a workhorse who asked for nothing but his credit for guitar parts, which allowed me to be the main creative force, with no uneasiness over pleasing everyone. But Cassavettes is four strong-minded songwriters pushing and pulling, which can sometimes amount to amazing results (we've made tremendous strides learning to play and sing together, but we've still got a long, long way to go). But it can also be really frustrating (see: last night's discussion over Mike's new song, on which I couldn't disagree with him and Scott more on the direction of the tune, but which I won't push as an issue because, hell, it's Mike's creation and I want him to be happy with it. On another strange aside, Mike mentioned during the debate that he was primarily concerned about the song getting scrapped, a bizarre feeling for the first time we played it, but something of an understandable feeling considering the track record for B-sides on "It's Gonna Change," which makes me feel like crap).

So, as I continue to try to adjust to songs that don't sound like mine, and learn songs that aren't mine and don't sound like mine, I'm just thinking too much. I want to get back to doing stuff on the fly, to making songs that sound both well-crafted and not too wooden from over-practice. It will take time, and for now, I just need to focus on writing. Maybe I'm burnt out on playing songs from the record, because every time we take a break from one and then come back to it, it usually sounds better and is played better. However, I'm not sure what to play in the interim, though I would like to take a break from the loads of gigging we're doing lately to start focusing more on new sounds, ideas, and, of course, songs. Yeah, maybe that's the answer. Or maybe this is all just SXSW run-off, where the whole week has a tendency to make you feel like a minnow in an ocean of far bigger sharks and whales.

But writing this down actually helps. Seriously, I've needed to say some of these things for awhile now, even just about myself and my insecurities.

On a less dramatic note, apparently, we've been in the Boston Metro the past two days and I've missed it both times. I think Caitlin is hooking me up with both copies though, so I'll post ASAP.

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Tuesday, March 20, 2007

Drowning still

I really like those Bostonist folks:

Local heroes Cassavettes, Hallelujah The Hills, and Lady of Spain give you your rock money's worth and then some at Great Scott. We know that Cassavettes at least were lurking around SXSW this last week hoping that they'd be discovered. They'll be back in Boston but who knows, maybe they signed with a major label and we'll be saying goodbye to their regular local sets in the near future. Get to it while the getting is good.


That show is this Saturday. It seems a long time away, as I'm still trying to recover from missing a week of classes. First up: Oh right, a midterm. In an hour. Fun fun. The band skipped practice last night so Matt could hang with an old friend, which worked out fine for me. We rescheduled for tonight, and we'll see what happens. Hopefully, we can get some new songs grooving.

In related news, I'm working to set some things up for May and June, maybe a big show with some locals we love, and still keeping my fingers crossed we'll land in Toronto in June for their big festival. I re-worked our Sonicbids account recently, that was my big task, and now I'm under the gun. No fun. Back to work.

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Sunday, March 18, 2007

Back in biz

OK, after missing my flight this morning and not sleeping for several days, I just wrapped my last couple posts for Boston.com. Read them at their final URL here. They should be posted in the next day or two.

A big thing I forgot. Mike made it onto the Houston Chronicle's blog. Check it here.

I'm too tired to write anything else right now, but soon enough, friends. For now, this is going to be the worst month of school in my entire life. Whoo hoo.

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Friday, March 09, 2007

I can't be at two blogs at the same time!

For the next week, as Cassavettes meanders through Texas, I will be blogging for Boston.com and the Boston Globe here. See you soon!

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Wednesday, March 07, 2007

Skyrockets in flight

Whoa, major jump for us on the Neil Young Living With War "Songs of the Times" site. Since we found out a week and a half ago, we've jumped all the way to number 35 of over 1,400 songs! Keep clicking this link! Thanks for all the support thus far!

Also, I just deposited some recent earnings, and as soon as I cut the check and double check my work, we'll probably have paid off all outside loans! Then, we can pay off internal loans! Whoo! And this is the exact time I wanted to hit this mark by!

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Hidden gems

Real quick, in band biz, here's a nice write-up from Mass Culture (again!). I just can't figure out who's running that... Dave?:
Boston-by-way-of-Dallas roots pop band Cassavettes have landed themselves in the middle of the Mass Culture premier of “Nice New Outfit,” a new feature showcasing up and coming artists.

And I can’t think of a better band for this occasion. Sure, they’re good friends of mine, but they deserve it.

Cassavettes formed in Massachusetts in 2005, following Glenn Yoder (Guitar, Keys, Banjo, Vox), Mike McCullagh (Guitar, Vocals), and Scott Jones’ (Bass, Vocals) relocation from Texas, where each served hard time in various Denton, Tex. bands (including Duffer, Beware The Dangers Of A Ghost Scorpion!, and Seawall). Along with drummer Matt Snow, Cassavettes recorded their debut EP, “Whitewash the Blues,” an excellent blend of american rock, blues, and folk.

Two years later, and with relentless praise (including the Boston Phoenix’s “Best Local Band” title), Cassavettes return with “It’s Gonna Change,” a major step forward. The roots/americana touch is still there, but in a much more developed way. The songs are even catchier, tighter, and just… good. Plus, Glenn can really rock the harmonica.


We appreciate the kisses! And thanks for the harmonica shout out! Now, try on this short story (I'll make it quick)...

When my grandaddy was a 14-year-old growing up in the hills of the Smokies, he won a fishing contest in North Carolina unknowingly. Several weeks later, a check for $15 showed up with his name on it (this would have been about 1937... any idea of how much $15 is worth now?). Anyhow, an avid fan of singing cowboy films, he went down to the furniture store and picked up a small, deep Kalamazoo acoustic guitar with his windfall. The guitar, which has never had a case, has survived all these years, getting beaten up as my father and his siblings played it, with family jams, and sitting in my grandfather's closet since he stopped playing some years ago.

For awhile now, Grandaddy has promised to give me that guitar; I never asked for it and it was a running joke that I'd never get it because he always forgot it. No big deal. I first encountered it on a trip to South Carolina several years ago and it was badly out of tune and missing some strings. Silly me, I thought it was pretty junky, albeit looking cool. Well, sure enough, my father visited his father last week and brought the old guitar up with him in anticipation of my trip to Virginia. I spotted it immediately, and it looked better than I remember. It's beat up, but it doesn't have a single hole in it. The wood is so tough and deep, you can hear reverberations for long periods of time. Anyhow, I played it all week, loving the sound and feel of it and planned to bring it back to Boston. But the bridge was slightly askew so we took it to a local music store.

Now, I've been taking guitars for repairs for years and I've never had this kind of reaction. Every guitar guy in the store came over to touch it. The mandolins and banjos specialist came over and said he spotted the headstock the moment we walked in the door. Apparently, it's something special. Real special. We're still gathering info on it, but right now it appears it's a Depression-era Gibson acoustic line, made in their Kalamazoo, Michigan factory. No exact date on it, but early-30s to say the least. The guitar is in great shape for last all these years and they all suggested that I get it fixed up. So, I promptly bought a case and took it to the best local vintage woodworker -- except she was too busy. So, it appears this tale with have to pick up another day. I decided to leave the piece in good hands rather than risk it in Boston, but soon I'll get it fixed up and appraised. Not that I ever plan to sell it, but just to know.

Pretty cool find, eh? I can't wait to tell Grandaddy the reaction those dudes had. He'll find it very amusing.

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Tuesday, March 06, 2007

Looking into the future, like, next week

Well, Texas is on the horizon. I'm not even out of Virginia yet, but I can't stop thinking about next week. We're trying a couple last ditch efforts to land a couple Austin gigs -- maybe a house party, or a coffeeshop, or Rudimaya, or anything really. We also submitted for this John Lennon Songwriting contest which gives an acoustic slot on March 13. Keep your fingers firmly crossed.

Anyhow, our show in Denton is getting a little buzz, despite the fact that we lost our headliner. It was named a must-see by MassCulture. This also points out the fact that we're not playing NXSW but then again, I didn't know about it, so there.

And we got more love from Ryan's Smashing Life, a big time supporter of this group, for best albums of 2006. Check it here.

Boston homeboys The Cassavettes dropped their "It's Gonna Change" album just before the end of the year - and boy did they do it right. The album is a mixing bowl of rock and folk/Americana stage music. The band can play it loud, but they are more than capable of filling the room with blues. Not bad for a bunch of guys from Boston... I've spoken to a couple of the guys briefly - they also happen to be pretty cool too. Here is the "Shine A Light" - single. When you listen, you'll know why I made this a must have release for 2006/2007.


Pretty cool, eh? The Virginia trip is winding down -- I just got my teeth cleaned and then promptly ate at Chik-Fil-A. Today, we may go fishing but it's pretty windy. Last night, TD and I went out to dinner with her step-sister and her new husband and daughter. It was pretty cool -- they're nice folks and the daughter was adorable. Plus, I had no trouble navigating the way there, basically, as Virginia's main roads are more akin to my native Texas, rather than the confusing web of roads in Boston. Not too bad.

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Monday, March 05, 2007

Live from Virginia, it's a wrap up of Friday night

Sorry I didn't get to the requisite wrap-up of Friday's show yet. I'm currently in Virginia Beach, Va., visiting the old parental units with TD. This is a well-deserved break on the heels of some of the busiest weeks of my entire life. Friday's show at the Paradise Lounge, while fun, was almost hard to play -- I was worn out, I tell you. But I'm really, really glad we did it, and played hard. Either way, the first night in Virginia, I went to bed around 11 (early for me) and slept until 9 and when I woke up the next day, I could not believe how I felt. Laugh all you want, but I think I honestly forgot what a good sleep feels like. A full rest. I was re-energized, though for not much, since all we've done is kick it, play piano and guitar, and see two not-so-great movies (The Number 23 and Reno 911). But the popcorn was good. So, hey, here's what went down Friday, which now seems like a distant memory.



We played a show with an eclectic bill, to say the least: our buddies The Vital Might headlined, we went third, Philly's finest The Jealousy Curve, and opener Cyanide Valentine. My initial though during CV's set was that I'd seen them before, but the dude was doing electronic stuff and for some reason, Chris opened up for him as a DJ. I know that sounds like one of those crazy dreams where a bunch of people and things are mashed up into a nonsensical scene, but alas, I tell you, it's true. It happened. Well, this time, CV did a quiet, folksy set which was quite pleasant. He was joined by a female on vocals and a drummer using a sparse kit of a snare and a suitcase for a bass drum. Pretty sweet stuff. The Jealousy Curve turned out to be some really nice guys. I spoke to their guitarist Steve at several points through the evening, and resolved to a) see them at SXSW and b) do a show in Philly and c) check out Philly's Dr. Dog, who we apparently would fit well with on a bill. And of course, The Vital Might did what they do -- played some straight up rock. It was entertaining, and we got some dancing going. For how many people knew their lyrics and yet weren't shaking it, I couldn't believe. Thus, we had to show that crowd a thing or two about shake and bake. I think we did.

I wasn't entirely happy with our set, and I chose a really, really bad time to express myself. Right at the conclusion of the set, I told Matt he was never allowed to use a double bass pedal again (it was part of the Vital Might's rig), because I felt it clutters up the songs and detracts from the music. Now, when I initally said this (at the conclusion of the set), I really meant it seriously, but at the same time, I was trying to say it in a jokey way, like "Whoa, bro, never again, y'alright?" But it came out wrong. I immediately knew I was being an asshole, as I don't ever like to criticize that soon after a performance. Nor do I want to be that negative. Thus, I publicly apologize, Matt. That was uncool. It came out wrong. Anyhow, I wasn't particularly happy with the set, but it wasn't just the double bass -- there was just too much looseness. I guess I couldn't hear the other guys that well, but I didn't hear what I expected to hear when I caught some. Which isn't to say anyone was playing poorly, it just didn't sound tight -- especially at the beginning (plus, I personally think this was a horrible set list through the first half, it didn't flow at all). And I couldn't hear my vocals, so I was afraid I was off. I played instruments well enough, I think, but my voice was shot (probably the aforementioned lack of sleep catching up to me -- also, transitioning from the scream-a-thon "You Better, You Bet" into the equally yelly "It's Gonna Be Alright" was tough). Either way, after we brought up MK to do a couple songs -- "Like Secrets Beneath" and an untitled new song -- I think things picked up morally and energy-wise. I started to move without trying, which is always good, and everything from there on out felt pretty damn good. Plus, people seemed to be into it. I particularly liked the untitled new song, it sounds great with piano in it and it's a fun jangly tune. It was my personal highlight. I thought "The Devil's Arms" was a bit out of place, and the beginning of our cover of The Who wasn't together, but it all smoothed out.


You know, the odd thing about the last paragraph is that while I'm being vaguely critical, I got a lot of positive feedback about the show. And the band seemed to think we played well, too. Which may mean I'm crazy. Or that I was hearing things that weren't there. I don't know. Either way, it all turned up aces. I was feeling good after our set, I coerced a bunch of people to sign the mailing list, and we sold a chunk of merch. So there's that. A good night, not a perfect night, but a stepping point for improvement of the live performance. We're still trying to streamline our performance into a flow -- less talking, more flow. This was a step toward that, and not a bad one at that.


SET LIST: Debts / Shotgun Wedding / The Nadir / Like Secrets Beneath / NEW SONG UNTITLED / On The Lam / Loose Lips / The Devil's Arms / You Better, You Bet (cover of The Who) / It's Gonna Be Alright

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