Apollo Sunshine + Controller.Controller + OK Go

Being an opener is tricky. You have to live with the knowledge that you’re playing second fiddle, and that it’s someone else that everyone has come out to see. To put on the best show possible, you have to mask your self-consciousness, take the stage, and just play your stuff. Of course, being a headliner can be tricky too, especially if Apollo Sunshine is your opener. Taking the stage to their custom-made funkalicious theme music, the scruffy, colorfully-clad members of Apollo Sunshine launched into a set filled with psychedelic riffs, disco beats, ukuleles, two-headed guitars, and a whole lot of mischief. Playing primarily from their latest, self-titled release — a determined record with a myriad of clashing sounds and ideas — their live performance brought everything together nicely. Suddenly their crazy ideas all began to make sense. It’s obvious that these boys were having a blast in their strange and quirky world — a world best described as children’s book fantasy gone awry in strange, psychedelic color. During their 45-minute set, Apollo managed a tightly packaged, highly theatrical show, complete with thoughtful retro-pop transition music during guitar tune-ups. And tall, lanky, red-headed Jesse Gallagher, the band’s vocalist/bassist/keyboardist, even threw in something extra for the ladies: starting in a tie, button-down shirt, and sweater-vest, he eventually stripped down to a yellow sports jersey-ish tank top, revealing all of his badass rock ‘n roll tattoos. Apollo’s short, shaggy-haired guitarist/vocalist, Sam Cohen, rocked some highly impressive, old-fashioned guitar solos and, at one point, pushed the guitar aside, replacing it with a pair of sticks. He went to town on a snare drum while drummer Jeremy Black played along and threw adorable grins at the audience. I tried to fight it, but gosh darn it, I think I have a serious crush on these guys.

As they left the stage, the scene was set: everyone could have continued to drift on a bouncy cloud of groove. But, unfortunately, Canadian quintet Controller.Controller took the stage, stifling the moment. Led by vocalist Nirmala Basnayake, the band deserves an A for effort and a D for delivery. Although they all sported the aesthetically pleasing “I’m wearing tight jeans, and haven’t eaten for a week” look, they lacked any serious energy. Their beats were semi-danceable, but the monotony created an intermission-like atmosphere; many used the set to get another beer, chat, or go to the bathroom. I may have felt differently about Controller.Controller had I see them play with more sedate bands, but in this situation they stuck out like a sore thumb. Thankfully everyone’s buzz was restored when the wickedly handsome and suave members of OK Go took the stage. I have to admit, I had no expectations, but upon leaving North Six I had developed quite the crush on these boys as well. While the whole bands-wearing-suits trend is running rampant these days, the boys of OK Go did put a nice vintage twist on it. And when they began to play they got almost everyone in North Six to do something I rarely see from Williamsburg’s elite: instead of apathetically sipping their PBRs, the kids actually let go, danced, and had a bit of fun.

Playing in front of a backdrop which featured constantly shifting retro wallpaper-like projections, OK Go delivered deliciously quirky pop songs, including a healthy helping from their latest release, Oh No, and a fabulous cover of Electric Light Orchestra’s “Don’t Bring Me Down”. I found it impossible to stand still, and before I knew it, OK Go was playing their last song. After their exit, and the obligatory three minutes of clapping before the obligatory encore, the band came back on stage, and began to move instruments out of the way while frontman Damian Kulash entertained the crowd with anecdotes about the band’s recent tour of the UK. Then, something phenomenal happened that forever solidified my respect for OK Go: they assembled on the stage and did an elaborate dance routine to their single from Oh No, “A Million Ways”. It was perfectly choreographed and executed, giving every boy band out there a serious run for its money. I kept waiting for one of them to miss a step, but they never did. It was hip; it was hot; and it was something so unique in the world of indie rock that the entire room erupted into thunderous applause. I left North Six feeling giddy, wishing I had an OK Go poster on my bedroom. If I did I could put it next to one of Apollo Sunshine and sigh my nights away.