While never really ranking in my lists of all-time favorite bands or albums, Sebadoh remain a critically important band in my musical development. I discovered Bakesale during a critical juncture where i was first starting to comprehend exactly what this “indie rock” stuff was all about (lo-fi recording? What? But i thought all good rock albums were produced by Bob Rock and Mutt Lange!). Later on, i discovered a few of the Original Recipe Sebadoh releases, including the collected Freed Weed and Smash Your Head on the Punk Rock, but with the exception of “Brand New Love,” a song that redefined for me the possibilities of making noise beautiful (and ultimately is probably my #2 Favorite Song of All Time, right behind Superchunk’s cover of the Magnetic Fields’ “100,000 Fireflies”), i have been admittedly remiss in familiarizing myself with the work of the Gaffney/Barlow/Lowenstein lineup, choosing instead to be disappointed by most of Harmacy and more-or-less pleased by most of The Sebadoh (”Flame?” Amazing).
So when i heard late last year that Sebadoh Classic was reuniting and coming to Milwaukee on March 20th, i was thrilled, but also expecting to hear precious little i was familiar with (but holding out hope for “Brand New Love”).
The show was held at Shank Hall, a venue most of my Milwaukee compatriots and i look upon with an attitude somewhere in the vicinity of “oh, for fuck’s sake, there? Well, at least it’s not the shitty Rave.” Where most of the preferred venues in town (OK, the Cactus Club) put off the “loveable dive bar” vibe, Shank Hall is one of those “professional” rock venues with a security staff, a taste for the more middle-of-the-road local “rock” bands, and bartenders in Metallica baseball jerseys serving my precious Miller High Life in a plastic cup for $3.75. $3.75? OK, i realize that in Chicago or Brooklyn, that’s a steal, but this is Milwaukee, where the faucets have three settings: “hot,” “cold,” and “Blatz.” Shank Hall needs a visit from the High Life Delivery Guy. “Y’all must be crazy,” indeed.
Fortunately, my friend (and resular SSC reader) Stephanie had a guest list spot that she was gracious enough to piggyback me onto as her +1, and thus all Shank got from me was one $3.75 purchase. As we entered, i spied one Mr. Barlow behind his merch table. I was tempted to explain to him how enamoured i am with his song “Day Kitty” from his 2005 solo album, Emoh, but i’ve heard he’s a little cranky when he has to talk to people, so i decided not to chance it.
Anyway. Opening bands: first, a Dutch three-piece named The Bent Moustache, who played a noisy, dissonant, sloppy brand of 90s indie-rock that was very well likely influenced by the noisier segments of the Sebadoh catalogue. I give them credit–they were obviously having a good time despite suffering from a serious case of Tour Plague; the bassist/vocalist was seen swigging honey straight from the bottle to soothe his voice. That’s sort of hardcore. “I wish it were beer, but ya can’t do both,” he said. Obviously he’s unfamiliar with Leinenkugel’s Honey Weiss.
I have a word of advice for out-of-town bands who play Shank Hall: we get it, ok? It’s Shank Hall. It’s named after a fictional Milwaukee club in This is Spinal Tap. There’s a miniature Stonehenge model dangling behind the drum riser. That doesn’t mean that we’re going to laugh if you open your set with the monologue that opens the Tap classic “Stonehenge.” I know you came all the way from Europe, but we’re over the joke.
The second band, Australia’s You Am I, went a little farther by inserting the opening lick to “Stonehenge” between a pair of their songs, and their singer/guitarist, during setup, strummed a few chords to the That 70s Show theme. GUH. Look, i understand that Wisconsin is by far the coolest state in the Union (Hawaii comes close, but i think that’s just because their native language is, like, half vowels), but you wouldn’t believe how many bands come through and make Point Place jokes onstage. I dunno. Maybe it’s karmic retribution for my band’s constant in-your-face Wisconsinism while we’re on tour. Maybe he was just a really huge Big Star fan and likes to warm up by strumming “In the Street.” I dunno.
You Am I played a passable garagey power-pop that was made entertaining through pure showmanship. The band’s between-song banter was fantastically hilarious (on audience members interrupting them while they talked: “Do NOT talk over me. You–audience. Me–obscure rock icon.” In response to a photographer playfully trash-talking them: “Hey, fuck you! You killed Lady Diana”), and i warmed up to their music as a result. Ultimately, my summary of their set? The Hives or The Figgs, if they were descended from criminals.
I was nervous about Sebadoh’s set from the beginning of their setup, as Jason became quickly frustrated and visibly agitated by the monitor mix, and Lou’s amp began shorting out as soon as he plugged his four-string acoustic into it. Would this be a classic Sebadoh meltdown? Would the show end after ten minutes? For some reason, i was ok with this, as that shit makes for great stories. But no, the technical issues were ironed out with some genuine humor from Lou (”This guy in New York fixes this amp, and he says to me, he says, ‘after i fix this, i won’t ever see it again. You’ll never have to bring it back to me.’ We’ve been out a week! I should call him right now, on stage. ‘Hey! Check this out!’” I offered him my cell phone, but he didn’t notice).
The boys then proceeded to genuinely enjoy themselves as they bounced through a set of classic early Sebadoh, including tracks like “Vampires,” “The Freed Pig,” “Moldy Bread,” and what’s this? “Beauty of the Ride,” one of the better tracks from Harmacy? Woah! The band gave off the vibe of old friends happy to be playing together again, a far cry from the stories i’d heard of their live show. The audience let them know they appreciated it, too, treating the band in the same way, old pals reminiscing about all the crazy old songs they wrote. And yeah, they played “It’s So Hard to Fall in Love” and “Brand New Love,” and my heart skipped. text message sent to JoshD farther back in the room: “AAAAAAAAAAAA.” Response from JoshD: “The rest of the show is gravy.”
Thanks, guys. I am one happy camper this morning.
Postscript: This is probably TMI, but I could totally gay out with Lou Barlow and Eric Gaffney. If, like, the two of them beckoned me into their van, i couldn’t say no. I’d totally make out with both of them. I’m comfortable enough in my heterosexuality to say that i don’t think i’ve ever found a male musician as smoking hot as i found those two last night. No, i don’t understand it either, but there it is.
(note: photo of last night’s performance was shamelessly ganked from Stephanie’s Flickr account. Thanks pal! Check out more photos from last night there.)
9 Comments »
If they had played anything off Bakesale, especially “Dramamine,” “Skull,” or “Rebound,” you wouldn’t have had to strangle me, because i’d have died.
If, like, the two of them beckoned me into their van, i couldn’t say no. I’d totally make out with both of them.
Puttin’ the skank in Shank. Awwwwwwww yeah, DJ.
If they had played anything off Bakesale, especially “Dramamine,†“Skull,†or “Rebound,†you wouldn’t have had to strangle me, because i’d have died.
Well, you missed it because you left, but they played “Rebound” and “Got It” in the encore.
You suck.
Ah, fuck.
Stephanie’s back was seriously going out on her and she couldn’t stay.
I guess it’s good i left, because i’m still alive?
Ah, fuck.
I may have just died from an acute overdose of guilt. I’m sorry, DJ. 
Oh, pish. The show was still amazing.
i think my biggest problem w/ the show was not enough jake songs. he’s the f’n man!
I meant not to embarrass.
I just like telling DJ that he sucks.
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Comment by al hong! — March 21, 2007 @ 1:19 pm
f*ck, dude. beauty of the ride? vampire? we didn’t get those at our show. damn! if you told me they played dramamine i’d have to strangle you.