Neon Trees, Penguin Prison, & JJAMZ: Live At The 9:30 Club

The moment it was announced that Neon Trees would be headlining a summer tour, I knew it was necessary that I attend this show.  When the band's sophomore album, Picture Show, came out in April, it became a staple in my daily playlist.  The record took everything that their debut had and built upon it, confirming that they are indeed a band to take notice of.

On July 11, the band checked into Washington DC's very own 9:30 Club as part of the summer tour sponsored by Nylon and Starbucks, which was evident by the banners draped across the venue's interior.  The tour runs from July 9 to August 22 and reaches a total of 22 dates.  For the first half of the tour, including the sold out DC date, Penguin Prison and JJAMZ will be taking the stage as the opening acts.  All of this makes for one extraordinary night.

There was a unexpected jolt of excitement before the door time of 7:00 even arrived, as all three bands were outside of the venue gathering gear and prepping for the concert.  A long line of anxious fans, including myself, snapped pictures and said a passing hello before heading inside.  Hey, a moment like that can't be missed.

The first opening band was JJAMZ, that's pronounced "Juh-Jamz".  They're something of a supergroup, as each member comes from another act.  The lineup consists of James Valentine of Maroon 5, Jason Boesel of Rilo Kiley, Alex Greenwald of Phantom Planet, solo musician Michael Runion, and Z Berg of The Like.  Arrange the first letters of their names, in that order, and you have JJAMZ.  They play extremely catchy pop music, but it's their stage presence that really adds to the package.  They couldn't look any happier as Z Berg danced around the stage, while the band shot playful gestures towards each other.  You should definitely check out their new album, Suicide Pact, which just came out this week.

After JJAMZ' short set, Penguin Prison approached the stage.  Chris Glover is the man behind the name.  His music is an 80's throwback dance party, and you may have already heard "Don't Fuck With My Money" or one of his many remixes.  It was evident from the start of the set that Penguin Prison was there to make people move.  Immediately, Glover jumped off the stage and went straight for the crowd.  This high energy was a common theme throughout the night.  Penguin Prison played the majority of his debut album along with a few non-album tracks, one of them being his RAC collaboration, "Hollywood".

With two stellar performances by JJAMZ and Penguin Prison already complete, the lights went down for Neon Trees.  The room was completely dark, except for a single microphone stand that gave off a purple glow.  A short instrumental intro, which was reminiscent of something Michael Jackson would do, transitioned into the opening notes of "Moving In The Dark".  With Chris Allen on guitar, Branden Campbell on bass, and Tyler Glenn on vocals and keyboard, the venue exploded.  The band is currently touring with a session drummer due to their regular drummer and backup vocalist, Elaine Bradley, being on a pregnancy leave.  Upon first sight, one might think they were witnessing a classic glam rock concert.  It's as if the band's wardrobe is the result of a neon rave colliding with a punk concert. There were platform shoes, pinstripe leggings, spiked leather jackets, and tri-colored suits.

One thing is certain, Neon Trees give everything they have when they perform.  Tyler Glenn is spinning across the stage one minute and swinging the microphone around his neck the next.  He's also the only person I've ever seen play the keyboard with their face.  To do that every single night takes some dedication, which is exactly what this frontman has.

The band balanced the setlist between both of their albums, switching between crowd favorites such as "1983" and "Lessons In Love (All Day, All Night)".  When the time came for "Mad Love", the only full out duet they've recorded,  the band introduced a pre-chosen fan to sing Elaine's verse.  Halfway through the show, Chris and Branden left the stage as Tyler sang a solo piano version of "Your Surrender".  This was the most intimate moment, as the audience screamed along.  Other highlights included powerhouse performances of "Love And Affection" and "Trust".

The two songs that generated the biggest reaction were none other than "Animal" and "Everybody Talks", the latter of which is currently plastered on the radio.  "Animal" served as a turning point of some kind.  Everything went up yet another notch, from loud to louder.  Yes, towards the end of their set, there was a stage dive and Tyler surfed the screaming crowd.  The evening concluded with a final encore performance of "Everybody Talks".  It was the full package, complete with those signature dance moves from the music video.

If you ever have the opportunity to see Neon Trees live, do it!  The same goes for JJAMZ and Penguin Prison.  It was an incredible night that I won't soon forget.  Neon Trees control the room with a performance that's simply amazing.  They put on a rock-dance hybrid show that will most definitely have everybody talking.

Buy Neon Trees Tickets

"Picture Show" by Neon Trees
"Penguin Prison" by Penguin Prison 
"Suicide Pact" by JJAMZ

Photo credit: Picture #6 taken by Courtney Nelson

LIGHTS: Live At The 9:30 Club

When I arrived at the venue, a line of eager bodies wrapped around the building.  The sun had already begun to set and the air was frozen by gusts of wind.  I was suddenly wishing I had worn at least two more coats and maybe a scarf.  Stretching down the block, a mass of people were waiting for LIGHTS to perform at the 9:30 Club in Washington DC.  As part of the Siberia Tour, March 5 was her night in the nation's capitol, and the show would surely be something to remember.

The doors opened at seven, as everyone rushed in to escape the cold.  The opening band, Ambassadors, wouldn't play until fifteen past eight, so that stretch of time allowed for a decent amount of excitement and anticipation to build.  When Ambassadors finally did come out, I was somewhat surprised.  They're definitely not the type of band that I would expect to see opening for an electro-pop artist.  They had energy and worked the crowd, but I feel like they would've been better appreciated at an alternative rock concert. Mismatch aside, the audience seemed to enjoy the act.

After Ambassadors played for a good forty minutes or so, the stage was cleared and set up for the main event.  At half past nine, the party started and everyone remembered why they were there.  The stage lights went full blast and the music picked up.  LIGHTS' set lifted off with her latest single, "Banner".  At most other shows that I've been to, the crowd never fails to make a rush towards the stage when they sense their favorite band is about to play.  I must say, this audience was one of the most considerate and polite that I've seen.  No pummeling surge or relentless moshing throughout the entire night.  The LIGHTS Army is a gentle kind.

The setlist dabbled back and forth between cuts off of LIGHTS' new record, Siberia, and old favorites from her debut.  The odd non-album track was also present.  She ran to and from synthesizers as the insanely catchy melodies filled the air.  You know how some people look completely different when you see them in person?  LIGHTS was identical to her album cover, wearing a red plaid button-up over a tank top and jeans.  Her standard combover mane was present as well.

The dubstep infused breakdowns found in a handful of her recent songs were magnified that night.  Strobes lit the club and worked the room on tracks like "Flux And Flow", "Suspension", and one of the highlights of her set, "Everybody Breaks A Glass".  Rap verses by Shad, which appear on the studio recordings, were replaced with instrumentals or an extended chorus.  Moments like these proved that if LIGHTS really felt like it, she could create one heavy album.

In contrast to the thicker electronic tracks, LIGHTS slowed down the set halfway through with the reprise of "Pretend".  The alternate piano version had arms waving in the air.  She followed this touching moment with a suitable rendition of "Face Up".  Just when this little ballad section started to settle in, a crunchy "Siberia" brought the pace back up.  I feel like balance is required for a successful concert.  If you leave one end of the show lopsided with slower tracks or pack every hit single one after another, you'll lose any sense of connection between the songs.  LIGHTS did an excellent job of weaving the tracks into an order that felt right.

The main set ended with "Toes", the lead single to Siberia.  She then took her exit for a mandatory break before the encore.  After a brief round of "LIGHTS!  LIGHTS!  LIGHTS!" chanting from the giddy crowd, she returned to the stage for two more songs.  First was a stellar performance of "Second Go", one of my absolute favorites from her first album, The Listening.  It served as the last call to scream along before the night ended.  To wrap up the evening, LIGHTS played a stripped down version of "Cactus In The Valley".  Accompanied by her acoustic guitar, it was the perfect way to say goodnight to DC.

LIGHTS knows how to put on one spectacular concert and I would gladly see her show again the next time she stops by.  It's pop enough to satisfy the Top 40 crowd, yet those who are into dance and electronic music will have a great time.  If you're interested in catching a concert, LIGHTS is still playing across the US as part of the Siberia Tour.  For a full list of tour dates and ticket info, including SXSW, you can find her schedule here.  To download Siberia go this way.  For any other inquiries about the Canadian songstress, head over to her website.

The Kills: Live At The 9:30 Club

EDITORS NOTE: This feature was written by guest blogger, Brad Nelson.  You can follow him on Twitter @B_tothe_RAD.

It has been just over one week since The Kills performed for a sold out 9:30 Club crowd in downtown Washington D.C.  The ringing in my ears has subsided, but the music in my head has not.  I can still hear the crunching beat of the show’s opener “No Wow”.  I can still see Alison Mosshart, standing upon the dimmed stage, with tears forming, as she sang “The Last Goodbye”.  These are just two of the many stills that stand out within my mind as I recollect the night.

The evening began when the Brooklyn-based duo Hunters, and their accompanying drummer and bassist, took the stage.  If singer Isabel Almeida’s raucous scream doesn’t put a grin on your face, it’s probably safe to say you’re no fun.  They brought a special dose of energy that invigorated the room and matched The Kills vibe.

Having heard very little of the band in advance, I came away impressed.  I must admit, their single “Deadbeat” has, on more than one occasion, made a home in my head this past week.  The studio version is nearly identical to the live rendition and is every bit as catchy.

The two-piece rock band JEFF The Brotherhood followed, with a set that could best be described as loud and in your face garage rock.  From the first piercing note out of Jake Orrall’s guitar, to the final blast of Jamin’s drum kit, JTB laid down the noise.  Having heard some of their material beforehand, this came of no surprise, and didn’t disappoint.  Though I confess I was a bit distracted during a portion of their set, after spotting Alison Mosshart cheering from an upper balcony to the left of the stage.

After a short break, the curtains that formerly draped the backdrop of the stage were pulled, revealing the very Kills-centric leopard print which hung beneath.  Just moments away now, the crowd grew tense, and the lights dimmed.  Suddenly, The Kills appeared, amongst all the rumbling goodness of “No Wow”.  It provided such a blast of energy, and really set the tone for the entire evening.  When coupled with the duo’s overwhelming stage presence, you’d be hard pressed to come up with a better introduction.

I’ve always admired The Kills incredible sense of style.  In person, the duo looked every bit as awesome as you would expect.  Alison’s frazzled pink hair gave way to shades of blonde and black, as she confronted the crowd.  Interestingly, The Kills were joined on stage throughout the night by a pair of bandana-toting upright drummers.  The drummers actually added a nice touch, not only aesthetically, but audibly, even playing tambourines during the closing track.

This first seven-song portion of the show was ultimately my favorite, for several reasons.  Few concert experiences can hope to live up to the pure electric aura of staring eye to eye with Alison Mosshart as she belts the chorus of “The Heart Is A Beating Drum”.  The Kills bleed passion and energy, and it is nearly impossible to resist.

Next they played two old favorites, “Kissy Kissy” and “URA Fever”.  The latter of which received a roar of approval from the crowd, in response to those irresistible telephone beeps.  These tracks perfectly showcased the chemistry between Alison and Jamie.

One of the highlights of my night occurred unexpectedly, just a few songs into the show.  Jamie stepped to the edge of the stage, leaned, and tossed his guitar pick, which landed directly in my hand!

In a rare occurrence, the band was joined by a pair of background singers for “DNA” and “Satellite”. However, their impact was minimal, as Jamie’s wonderful guitar fuzz in “Satellite” stole the focus, lending itself well to the rocking crowd.  The Patsy Cline classic “Crazy”, which seemed to resonate well with the crowd, as did one of my favorites: “Baby Says”.

The slowed-down version of “Nail in My Coffin” seemed to throw everyone off momentarily, but did well to lead into “Black Balloon”.  The crowd did their best to clap along with the aforementioned drummers, eventually admitting defeat and fading into a muffled applause.

During “Tape Song” and “Cheap And Cheerful” the crowd erupted into a free-for-all mosh, as a hoard of individuals made a push to the front of the stage.  This rush resulted in a complete shuffle of positions, and I wound up being pushed back a row.  At the song’s conclusion, Jamie amusingly prompted the crowd, saying “If you're going to fight, please let everyone join in... don't do it while I’m playing guitar, it’s not fair.”  The Kills closed the set with “Pots and Pans”, and briefly exited the stage.

The emotional peak of the night was unquestionably “The Last Goodbye”, the first performance of the band’s encore.  Jamie quietly retreated to a keyboard with a bottle of wine in hand, as Alison took center stage.  The emotion in her voice was remarkable, and seemed to strike the crowd into awe.  They then continued the encore with the always popular and lively “Sour Cherry”, which injected another dose of adrenaline into the now delirious crowd.

The show closed with a pair of songs from The Kills first album, “Keep On Your Mean Side”.  Jamie did the honor of introducing the first track “Fuck The People”, describing it as “One of the first songs we ever wrote.  It’s a very profound and in-depth response to democracy and the complications of life.” As the night came to a close, everyone sang along, soaking up the final notes.

Finally, they played out the last tune of the night, “Monkey 23”.  At the song’s conclusion, Jamie and Alison crept to the edge of the stage and bowed, her glorious fray of pink hair lashing one final time.   The crowd surrendered one more massive roar, their thanks for an unforgettable night.

If you would like to hear The Kills 9:30 Club performance in its entirety, check out NPR’s “Live In Concert” feature here.

Tonight, The Kills will celebrate their tenth anniversary with a performance at Terminal 5 in New York City.  It's sure to be a memorable and emotional night for the band.  The show will be live-streamed by MTV at 10:30 ET, so be sure to tune in.  I know I’ll be watching.  Ten years is a long tenure for any band and should be deemed a great accomplishment.  To put it in perspective, The Beatles entire career spanned only ten years in total.  I want to thank Alison and Jamie for every song, every album, and every show they’ve played in those ten years.  There are no holes in their catalogue, something that’s true for few bands in this era.

Long live Hotel and VV.  Here’s to another ten years.

Sleigh Bells, CSS, Mr. Dream, and Wet Witch: Live At The 9:30 Club

At around 7:00 P.M. last Saturday, the 9:30 Club had a line of people waiting outside the venue.  A group of all ages and buzzing with excitement.  Some wore neon outfits complete with matching headbands, while others took the term "hipster" to a new level.  They were all waiting for a night of frenzy.  Sleigh Bells and CSS were in DC for a sold out night of their co-headlining tour and they brought along Mr. Dream and Wet Witch for good measure.  Once the doors to the venue opened at 8:00, everyone rushed towards the stage for a good spot.  I settled down somewhere between the first and second row and was advised by an obviously concert savvy girl to keep a steady hold on my spot because, "It's gonna get crazy."

The show kicked off with Wet Witch at around 8:30.  Most of the crowd had no idea what to expect from them, so when the band's first song was an intense blast of noise, hands instinctively covered ears.  Wet Witch is a trio consisting of a guitarist, drummer, and vocalist.  The vocals were harsh while the drums shattered the room.  After the initial impact of the first song, the crowd loosened up. By the end of their set, there were mixed reactions.  Some were anxious and now noticeably pumped for the night to go on, while others got their ear plugs ready.  Wet Witch gave the club a good taste of what the mood would be like for the rest of the night, full of energy.

After a short set change, Mr. Dream prepared to take the stage.  The drum kit was moved to center stage with each vocalist on either side.  They started with one of my favorites, "Knuckle Sandwich".  The crowd warmed up to their sound much quicker than the previous band.  "Winners" caused every head in the pit to nod with perfect timing.  The combination of heavy rock numbers and lighter songs with sing-along melodies definitely turned some heads.  The bounce of "Knick Knack" under the dark red lights had me singing along all the way until the final note.  Their set seemed significantly longer than Wet Witch's quick spree and it ended with screams of "Mr. Dream!".

Once Mr. Dream left the stage, there was a decent wait until CSS would come out.  Although the majority of the audience was there to see Sleigh Bells, everyone was more than ready for CSS.  The entire venue roared when the lights went down.  Once CSS' Lovefoxxx ran onstage, the night changed completely.  She controlled the room with her wild antics, which included running through the crowd, spraying the room with everything she drank, and shedding her clothing.  When the opening beat of "Music Is My Hot Hot Sex" hit the air halfway through their set, everyone that wasn't already a CSS fan before the show was now converted.  Dance breakdowns during "Move" kept the night going at full speed.  The highlight moment of "Let's Make Love And Listen To Death From Above" transitioning into "Alala" topped off their set.  CSS had transformed a rock show into a dance party.

It was around 11:30 by the time CSS ended their set.  Sleigh Bells wasn't scheduled to take the stage until midnight.  This meant a long and restless wait was inevitable.  While many of the concert-goers wore CSS shirts, and some discovered new favorites in Wet Witch and Mr. Dream, it was clear that Sleigh Bells attracted almost everyone to the show.  The guitar amps, which took the shape of the giant wall, were pushed out closer to the edge of the stage.  The lights went out and after the first beat of the duo's "Iron Man" intro, the entire pit rushed forward causing the front rows to fall against the railing.  The now neon lights blinded the crowd.  Sleigh Bells had taken the night to another level.  Every strobe light was brighter and every noise was louder.  The crowd recited perfect lyrics back to Alexis Krauss, who donned a "SLAY BELLS" jersey over reflective and splattered leggings.  "Infinity Guitars" and "Rill Rill" were the crowd favorites.  Alexis surfed the pit, while guitarist Derek Miller sat on the rail during "Holly".

Sleigh Bells ended the night with a riot inducing rendition of "A/B Machines".  The back of the room surfed its way to the front.  People were thrown onto each other.  It was exactly how their music felt like it should be, chaotic and fun.  They played a fairly short set, about forty minutes which included almost every song that they had.  That didn't stop a group chant of "Sleigh Bells!" once the band left the stage.

The girl who told me to be ready for a crazy time was one hundred percent correct.  The concert, which let out at around 12:45, was explosive.  The glazed eyes and wide smiles were appropriate measurements of how hard the 9:30 Club was hit.  Each band played a completely different genre of music, but it only makes sense that they tour together since it was the raw energy that they all had in common.

Keep reading for more pictures of the show...