Ben Kweller and The Watson Twins: 25 February 2009 - New York City, Town Hall
The Watson Twins and Ben Kweller. Both equal parts Nashville and hipster. Both singers and songwriters of heavy harmonies and simplified melodies. But only Kweller, however, came away from Town Hall with a commanding and energetic performance, aided towards the end by a dancing infant.
Starting off with poor sound didn’t help the Watson Twins. What sounded muddled with overwhelming bass drones in the balcony sounded more balanced in the orchestra. But the twins’ vocals got lost in the shuddering bass.
During “Only You”, keyboard played the high-pitched guitar strums that appear during each chorus. But it failed to emulate the electric guitar’s other quavering and haunting holds. Instead a nylon-string guitar was innocuously thrummed. This same guitar didn’t suffice for their popular “How Am I to Be”—during which they suggested shoulder dipping as a substitute for actually dancing; be careful what you wish for.
All this begs the question: Where was the strikingly bright guitar that provides such a pivotal counterweight to the twins’ soaring harmonies?
They floated through the Bill Withers standard “Ain’t No Sunshine”, but as people they’re too sanguine to seem heartbroken or lonely. (Maybe because they always have each other around?) In general their vocals were soft and beautiful, but too light. They exuded no energy in their 45 minutes, leaving behind a pretty banal set.
In contrast, Ben Kweller showed up to play his heart out. He prompted the light tech to turn up the houselights so he could size up his excitable crowd and then pursued a relentless setlist covering all the bases. Charging through old favorites like “Walk On Me” and “Falling” Kweller was urbane and sincere, his voice easily seizing the hall’s wide space.
Buttery smooth, his band (drums, bass, pedal-steel guitar) infused Kweller’s country roots into his indie lyricism and punk ethos to form a powerful and cohesive musical synthesis. Whenever Kweller added throwback vocables to a verse it pointed to a past era of pop.
While Kweller sampled material from his latest fare, Changing Horses, its lead track (“Gypsy Rose”) was surprisingly the best song of the night simply because of its delicate balance and Kweller’s sonorous tenor praising love as the saving grace.
His new song “Fight” was a stellar showcase of his band’s three-part chops and unleashed an unshakable melody during the encore.
I found the ending a little awkward, though, as everyone in the crowd decided to get up and dance for the last three minutes of the show. I couldn’t stop thinking, why didn’t they just get up and dance the entire show? Was the setting too intimidating? Too reserved? But what really stole the show was Kweller’s toddler son, Dorian, upstage, rocking out to his daddy’s big finale at the end.
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