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Friday, Jul 10, 2009
Words and Pictures by Kirstie Shanley

If you were to take the lush vocals found in bands like Starflyer 59 and combine them with the beautiful melancholy of fellow Texans Midlake, you might get something close to resembling Robert Gomez. Backed by a keyboardist and French horn player, Gomez, on guitar, played selections from his last two stellar albums, 2007’s Brand New Towns and his most recent, 2009’s Pine Sticks and Phosphorous. It’s a difficult task, but Gomez manages to construct sad pop songs that tend to linger inside your brain long after the song has finished without the interference of drums and bass. Though he does use drums on some of his studio recordings, the loss of them live made it seem more personal rather then something was missing.


Gomez appeared rather thin and tall on stage and yet his demeanor was a very understated and modest one. He filled the room with alternating dreamy instrumentals and then more structured pop songs with lyrics. His voice is never insistent or even passionate but has a gentle quality that suggests a man trying to find his way in the darkness of the world. When he’s not singing, the instrumentals he creates are heartfelt, similar to what Jon Brion does for soundtracks. You can’t help but experience a sense of wonder listening to them as if they are part of a soundtrack to your life and your life has become a strange sort of cinema.


Though he’s an adept guitar player, with some intricate finger picking now and then, his best skill lies within the overall creation of these delicate laments. They are sad dreams for when you’re awake. Gomez began his forty-five minute set with “October 3rd Post”, a glorious symphony that seems in essence to instrumentally describe the wonder of fall and simultaneously the dread of the coming winter. That seemed to set a certain tone and worked as a wonderful companion for “Middle of Nowhere”. Other highlights of the set included “Hunting Song” and “A Paper Figurine”.



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Saturday, Jul 4, 2009
It doesn’t help that half the audience left after the opener, one of the songwriting world’s most secret weapons, the Tallest Man on Earth.
John Vanderslice

John Vanderslice


John Vanderslice has paid a decade of dues writing infectious, subtle pop grooves for the masses. His latest record, Romanian Names, is one of the most solid efforts from start to finish in his career, full of vigor and life. Unfortunately, the tracks haven’t been developed to their full potential in a live setting, falling somewhat flat compared to his elder material. In all fairness, it could’ve been an off night at Nashville’s Exit/In, but the band didn’t seem into it and it seemed a great deed to get Vanderslice himself into the performance. It also doesn’t help that half the audience left after the opener, one of the songwriting world’s most secret weapons, the Tallest Man on Earth.


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Tuesday, Jun 30, 2009
Words and Pictures by Sachyn Mital

In the late ‘90s and early ‘00s, Norman Cook, aka Fatboy Slim ingrained himself in American popular culture with his release You’ve Come a Long Way, Baby, more than peers like Basement Jaxx, Armand van Helden or The Chemical Brothers. The video for “Praise You” won some MTV awards, “The Rockafeller Skank” was used in soundtracks, and the later “Weapon of Choice” video featured Christopher Walken dancing and flying around a hotel.


Tagged as: fatboy slim
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Tuesday, Jun 30, 2009
Words and Pictures by Thomas Hauner

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Monday, Jun 29, 2009
Words and Pictures by Kirstie Shanley

There are many frontmen of once awe inspiring bands that are now defunct who could learn quite a bit from Rob Dickinson. Though he has released a solo album—2005’s Fresh Wine for the Horses—he’s well aware that most people want to hear songs from his Catherine Wheel days. This fact means his fans are hopelessly devoted to seeing him live (he was even given flowers at this show!), and though it may not be the same as seeing an actual Catherine Wheel reunion, it’s the closest most of us will get to this perfection.


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