Crowded House
Neil Finn made good on a promise made in “Don’t Dream It’s Over” – “You’ll never see the end of the road while you’re traveling with me” – hitting the road with his reformed band 11 years after its farewell concert.
The band started its Aug. 22 concert at the Fillmore a little slow, with the mid-
tempo “There Goes God.” The slightly restless crowd was soon captivated by the heavy organ groove of new song “Heaven That I’m Making,” which comes off well on the CD but is flat-out stunning – and loud – in concert.
In a brilliant stroke, the band then played “Don’t Dream It’s Over,” its biggest hit in the U.S., about halfway through the concert. From that point on, the show took on a life of its own, with a great chunk of the audience singing every word to every song – and that was 12 more songs, including two encores. |Angela Clemmons
Avett Brothers
Part concert, part North Carolina pride rally, the Avett Brothers brought the spirit at their sold-out show Saturday at the Soiled Dove Underground.
The love and admiration for the neo-folk group – which calls its music indie rock even though they play bluegrass festivals – was positive and overflowing. It was a magic show, with the giddy, sing-along crowd squealing with each opening banjo strain.
“Salina” was a lush journey, with Scott and Seth Avett elegantly exchanging vocals and instrumental leads, from banjo to acoustic guitar. The encore of “Pretty Girl From San Diego” was a delightful mash-up of the many styles adopted by the Avetts – and their switching to all-electric instruments at the end of the song was an excellent way to say goodbye.|Ricardo Baca
Magnolia Electric Co.
Jason Molina, leader of the defunct indie-folk act Songs: Ohia, possesses a gorgeous, penetrating voice that recalls a steadier version of Will Oldham (Palace, Bonnie “Prince” Billy).
Molina’s set at the Bluebird Theater on Tuesday proved that’s not a bad thing, his band alternating upbeat, solo-heavy rockers with mournful ballads.
The patchwork approach also felt like a mash-up of Neil Young and My Morning Jacket, particularly as Molina’s wailing vocals nailed every fluttering note, while the rest of the band loosened enough to hit a few wrong ones. But Magnolia Electric Co. created enough momentum on “Bowery,” “Memphis Moon” and “Hard to Love a Man” to make a solid argument for comparison-free future reviews.|John Wenzel
The Beebs
A band is born, and there’s promise. And then it nails down its voice. And then there’s the potential for greatness.
The Beebs were always good, what with their likable blend of undeniable melodies, matter-of-fact vocals and confident alt-country sensibilities.
But now the Denver band is great – as in not to be missed.
When the Beebs played the Hi-Dive on Aug. 23, they showed growth and evolution and, well, greatness. The group sounded tremendous as they played as a unit, working their way through a brief but cogent set. Colleen Lee, with a perfect voice for storytelling, cut an intoxicating figure as the Beebs’ frontwoman. Her songs are miniature celebrations, every last one of them, even when her lyrics ask, “Will you love me when I’m dead in the ground?”|Ricardo Baca
Detroit Cobras
When Rachel Nagy says, “Baby,” you listen. You don’t really have a choice.
When Nagy, the singer behind this righteous throwback R&B group from the Motor City, sings “Baby Let Me Hold Your Hand” or “Baby Help Me” or “Bye Bye Baby,” you listen. And you dance.
And that’s why Detroit Cobras shows (such as the one at the Bluebird on Aug. 24) are so much fun. It’s like a modern- day sock-hop, only the ringleader – Nagy – is an ex-stripper, ex-drug addict who happens to have a smoky alto that delights and tingles and demands attention as it encourages dancing.|Ricardo Baca
