One of the biggest challenges a music writer can face is writing about a band you adore. Sometimes you like something so much that the task of describing it is an overwhelming pressure. You want to do it justice, you don’t want to over-sell it, but you want to convey just what makes it so fantastic. Sometimes all that comes out of your mind is a jumble of generic positivity (which, if you ask me, is more the reason behind the hyperbolic tendencies of the blogosphere than anything else).

This week, I attended my sixth and seventh Yeasayer shows – all within the past two years. I’ve seen the psych-pop-folk-rock outfit from Brooklyn more times than any other band in those years, and although they’ve completely shown-up every band they opened for (MGMT, the National, Man Man) or played with (Amazing Baby, Suckers), I only wrote about one of those shows. There’s a reason for this, and that reason is the challenge of describing what I like about Yeasayer in anything other than hyperbole. There’s also the fact that once you cross a certain line, it can be difficult to still play the critic.

When tickets for the Bowery Ballroom & Music Hall of Williamsburg Odd Blood release week shows went on sale, I was on a bus to Boston. Having acquired Yeasayer tickets in the past with no problem, I figured I would order them when I arrived in Boston three hours later. By the time I arrived, the shows had sold out. The album hadn’t even leaked yet, but their reputation had clearly been fueled by Dark Was The Night track, “Tightrope,” and the Odd Blood single, “Ambling Alp.” But the resilient heart does not give up so easily. Odd Blood was my most anticipated album of 2010, and I was determined to see Yeasayer play on this tour.

Monday night I arrived at Bowery Ballroom early on the chance there would be a few extra tickets, and gloriously, there were. I drank a beer in quiet celebration. I met a nice guy who traveled up from Tennessee to see Yeasayer both nights.

Openers Bobo were more gimmick than band. Wearing matching outfits of yellow turtlenecks, overalls with cutouts showing fake body parts, and foam tails, they sang about genies, cops, adventurous kids & cupcake companies. At the very least, though, they were amusing – every audience member had a smile on their face.

Mid-show entertainment was Light Asylum, whose set-up comprised an insane amount of cords and plug-ins. Their haunting electronic gems were more akin to a Kraftwerk kind of stream than a Yeasayer. The real driving force was the voice of Shannon Funchess, mastermind behind Light Asylum, and possessor of some real power-house, deep, booming vocal chords.

Owning up to their standard classification as a psych band, Yeasayer took to the stage amid an impressive light display. For their last tour, it was glowing orbs, this time, it was a four-piece backdrop, and light-up pedestals.

They opened with “The Children,” Odd Blood’s rather controversial first track. In previous interviews, the band has mentioned a two-step approach to their music: They create the music in the studio, and then they work out the best way to recreate it live. This shows through immediately; “The Children,” which has no discernible guitar on the album, was lead by Anand Wilder’s guitar in the live setting, giving it a warmer, more organic feel.

This approach breathed life into some of Yeasayer’s less accessible tracks. “Love Me Girl,” which begins Odd Blood’s odd second half, was pushed to its R&B dance jam heights, complete with smooth dance moves from smooth-voiced Wilder.

Mid-set the band transitioned into older material – “Wait For The Summer” and “Sunrise” from All Hour Cymbals, and “Final Path,” a popular b-side. It’s hard to tell with the three year time period between albums, but either the earlier songs were given a more stripped down treatment, or just seemed simpler in comparison to Yeasayer’s complex new direction.

Chris Keating retains his entertaining as ever spastic moves and facial contortions, and co-lead vocalist Wilder seems to have picked up on some of Keating’s stage charisma in the process of taking a more prominent vocal role on Odd Blood.

The band was in good spirits about the sold out shows (“You must’ve been on the internet real fast,” Keating remarked. “I couldn’t buy a ticket for my own show.”), and the release of Odd Blood (“Did you download it?” Keating asked with a grin and a laugh.)

The last chunk of the setlist held the new album’s biggest pop songs – “Mondegreen,” “Ambling Alp,” “Rome,” & “O.N.E.,” making for a solid 20 minutes of all out dancing. Leaving the crowd begging for more, they naturally closed out an encore with the song that started it all, “2080.”

Yeasayer: “O.N.E.” (download)

For the second evening at Music Hall of Williamsburg, an early venture to the box office was not as lucrative as it had been the evening before. Upon returning to the venue awhile later, however, my friend and I were left to marvel at the kindness of strangers. We ran into the young man from Tennessee who I had met the night before, and he had an extra ticket, as did a couple who walked by while we were discussing how hard it was to get tickets. (Many thanks to all three of you, on the offhand chance you see this.)

While the show at Music Hall of Williamsburg boasted the same setlist, to some disappointment, it had the exact opposite feel of their Bowery show. Where the Bowery show was more impressive in terms of the sound, the band was visibly more excited about playing in their home borough of Brooklyn (“We parked right outside,” Keating commented). And while the Bowery set started strong and found the band looking a little exhausted by the time they reached “2080,” they seemed to hit their stride mid-set at Music Hall.

Regardless of what one thinks about the new direction of Odd Blood, Yeasayer is truly a band that is consistently working on producing the best live show possible – and they deliver every time.

Click the jump for the setlist, more T-Sides photos & more info.

SETLIST (both nights)

The Children
Madder Red
Tightrope
Love Me Girl
I Remember
Strange Reunions
Wait For The Summer
Final Path
Sunrise
Mondegreen
Ambling Alp
Rome
O.N.E.
Encore: Grizelda
2080

All photos from Bowery Ballroom, taken by me. See the full set here.

Light Asylum

Yeasayer

Yeasayer Official Site
Yeasayer on MySpace

Light Asylum on MySpace

Related Posts:
T-Sides’ Decade in Review: Albums
New Yeasayer: “Tightrope”
T-Sides’ 2008 in Review: Concerts
Ear Farm: The National, Yeasayer @ Central Park Summerstage

I’m truly sorry T-Sides and all related projects have been offline for so long. Chalk it up to summer, chalk it up to a quarter-life crisis, chalk it up to any sorry excuse for life taking us away from the things we love that require any amount of work. But let’s turn the focus on the positives. I’ve certainly continued ingesting and thinking about all things culture-related, just find myself less able to capture the associated thoughts. So, here’s a showcase of Top 15 things that have been on the T-Sides radar while we’ve been dormant (not in order of preference, simply in the order of thought). Click the jump to see!

1. TV on the Radio Remixes – Read Silence

Truth be told, remixes rarely appeal to me. A relationship with a song can be so personal, so intimate, that for it to be broken down into pieces and transformed can be like going to bed with someone you love and waking up next to a stranger. But holy hell, all three remixes on the Read Silence EP are breathtaking reinterpretations. The handy craft of Glitch Mob, Gang Gang Dance and Jneiro Jarel on these selections from Dear Science are perfect companion pieces to TV on the Radio’s compositions. It’s like finding out that someone you already love is an amazing cook or volunteers to teach children how to read or something.

TV On The Radio: “Shout Me Out (Willie Isz Remix By Jneiro Jarel)” (download)

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2. Neko Case, Neko Case, Neko Case

Oh, Neko. It’s quite possible that my girl-crush on her has gone too far, considering I’ve begun to imitate her promotional art in portrait form. Middle Cyclone enchanted me so deeply that I went back to listen to Fox Confessor… and Blacklisted, and more frequently than any other current listening habit I’ve developed, I have a tendency to just put those three albums on shuffle. It’s only a matter of time until I own and then do so with her entire catalog.

Neko Case: “Runnin’ Out Of Fools” (download)

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3. Mariah Carey, “Obsessed”

The reasons why this song is on repeat deserve their own list, because it mostly involves the lyrics, like “All up in the blogs,” and “Lyin’ that you’re sexin’ me,” but especially the line, “Got you all fired up with your Napoleon complex, seein’ right through you like you’re bathin’ in Windex.” Really. Oh, and it’s a Mean Girls reference. What’s not to love?

Mariah Carey: “Obsessed” (download)

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4. Ear Farm

Go ahead and call me biased since my name has appeared on the site a time or two, but truth is, it’s not bias, it’s bloggist envy! The crew at Ear Farm have been coming up with some ridiculously insightful, entertaining and impressively original features. From countdowns like the “Top 10 Most Metal Classical Music Pieces” to exposes about fake myspace accounts to dinnerviews, Ear Farm has me constantly checking their site for updates – and checking my brainstorming well for better ideas.

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5. Yeasayer

It’s not that I want these dudes to rush, by all means, I want them to take as much time as they need to write their perfect, perfect songs, but oh god I can’t remember the last time I was so prematurely excited for an album. All Hour Cymbals is still still still on heavy play because it is so so good, and “Tightrope” is so so good, and it’s just so so hard not to get so so anxious/eager/greedy for more! Their “Odd Blood” recording blog is a bright spot on my Google Reader every update, whether it be picture updates from their Woodstock recording cabin, random themes, crueal teasers or actual news. Between this and their upcoming Pier 54 gig, I hope my thirst for Yeasayer will be satisfied.

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6. Jay-Z, “DOA”

Hovy Hov, it’s not that I stopped loving you, but the leaks and singles since the American Gangster stuff have been… well, mediocre. Your “A Billi” version of “A Milli” is fierce, and “Brooklyn We Go Hard” is a serious jam, but it’s not going to be on Blueprint 3? That made me think you had something better coming, but nothing I heard has really topped that. I was ready to side with your detractors and brush you off as an old man, outta touch – which, truthfully, I don’t neccessarily completely disagree with. But there’s something about you, that swagger, that love of old soul samples, that epic, hit-making ear that keeps me coming back for more. So I didn’t lose all faith. And then you relased “DOA,” which deservedly rips auto-tune, has those hot brass and guitar riffs and references my other favorite big-time rapper (Young Jeezy). Not to mention, a seriously piiiiimp video, featuring exploding assets, you smoking a cigar in front of an NY skyline and playing poker with Harvey Keitel. There I was, finessed by you again.

Jay-Z: “DOA” (download)

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7. Music Direction on “The Sopranos”

Anyone who checks in on my personal tumblr has heard me talk about this before. I’m closing in on “The Sopranos” finale (and if you try to spoil it for me, I’ll cut your head off) after a couple years spent watching it via Netflix and friends’ copies of the show. Most HBO shows use music in the most incredible way, and “Nip/Tuck” is another great example of television music direction, too, but “The Sopranos” is so perfect, it’s as if they had an army of thousands, possessing the knowledge of every song to ever exist when selecting, as if they had brackets and votes and cage matches of which song is best for which moment. My recent favorite selection was the use of The Rolling Stones’ “Moonlight Mile” in the Season 6, Part 1 closer. And, yes, I do already know what the big finale song is – but that’s all I know.

The Rolling Stones: “Moonlight Mile” (download)

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8. Jaime Foxx, “Blame It”

I hated “Blame It” the first time I heard it. It’s demeaning to women no matter how you look at it – either we need liquor to have a one-night stand so as to not feel “easy” (women can’t be as sexually promiscuous as men), or Foxx is acknowledging that such a double-standard exists and is exploiting a loop hole (but is still, basically, trying to bone women by getting them hammered) – that stutter is annoying as hell if you’re not in the right mood, and someone should probably tell Foxx he’s not Usher (speaking of which, wherefore art thou, Usher?). That said, “Blame It” is club R&B gold, catchy and sing-a-long-able as all hell, and unsurprisingly fun to drink to (or get ready to drink to). I also acknowledge that the video is killer, though I probably only think so because it features an appearance from fellow redhead and The Music Man star, Ron Howard. Yep, that’s right. Ron Howard in a club video. Point: Jamie Foxx.

But I’d still love it if a woman did a version of “Blame It” targeted at male drinking stereotypes. (Hint: Ironically, it rhymes with frisky stick). Someone put me in touch with Beyonce and Rihanna’s agents!

Jamie Foxx: “Blame It (Feat. T-Pain)” (download)

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9. Built To Spill

The minute Pacific Northwest Rock Royalty Built To Spill were announced as headliners for this year’s Siren Fest, I pulled out Keep It Like A Secret and There’s Nothing Wrong With Love, and haven’t stopped listening to them since. As with Neko Case, it’s only a matter of time until I jaunt through their entire discography. Luckily I’ll be getting another addition in the fall, in the form of There Is No Enemy.

Built To Spill: “You Were Right” (download)

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10. VeniSin

From the gents who bear such musical fruits as Lilum and The Jobz comes VeniSin, an exericse in indulgence, masculinity and rock. You don’t need words, you just need to listen to this.

VeniSin: “Koadak Blues” (download)

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11. Jake One, “Home”

Click here to view the embedded video.

What’s that? I already posted this? You don’t say…

Actually, I don’t say, because it’s worth talking about again, between the opening shot at my beloved Dick’s Drive-Thru on Broadway, the Sir Mix-A-Lot cameo, the jokes about Seattle being a city of potsmokers, the digs at Seattle sports teams, and the laid-back, positive vibes. Seattle doesn’t get enough theme songs, so I’mma pimp this one, our best one, as much as I can. Even if you aren’t from the Emerald City, you can appreciate the skill of some of its best emcees.

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12. The Dead Weather

After playing witness to their in-store at Jack White’s pop-up Third Man Records, it’s hard to listen to Horehound, which lacks some of the intensity and complexity of the live performance. But, at the very least, on “Treat Me Like Your Mother” and “I Cut Like A Buffalo,” Jack White’s passion is infectious, and Alison Mosshart makes a great toughsexy frontwoman for him to spar with. The rest of the album requires more digesting on my end, but I may never get past the way both songs make me want to slinky-swagger my way down the sidewalk and spit in some dude’s eye, or the violent video for “Treat Me Like Your Mother.” Can you imagine if you and an ex could have a shoot-out, knowing you wouldn’t kill the other person? I also have to point out the deliciously sinister fact that it’s filmed right outside some sort of copycat suburban housing plot.

The Dead Weather: “Treat Me Like Your Mother” (download)

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13. Phoenix

The French popsters from the Lost In Translation soundtrack hit it big with this year’s Wolfgang Amadeus Phoenix, particularly opening tracks “Lizstomania” and “1901.” They have me smitten – me and everyone else, that is.

Phoenix: “Lizstomania” (download)

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14. Wilco

I’m fully aware of the fact that I’ve knocked Wilco before. Though I’ve admittedly warmed up to them, in some ways, I still stand by my original statements. It takes way too long for Wilco albums to hit home, longer than I’m usually willing to spend on an album without some amount of faith in the artist. After hearing some live recordings, though, I decided to splurge on seeing the band with Yo La Tengo (who I, regrettably, only saw the last song of), and came away something closely resembling a fan. My favorite moments involved songs from A Ghost Is Born and Sky Blue Sky and the incredible guitarmanship of Nels Cline, who made sounds I’d never heard before. I don’t know that I’d call Wilco a new favorite, but I came away from the show willing to put a little more faith in their hands.

Wilco: “You And I” (download)

15. Domino Records

So, about that job thing. After an exhaustive job hunt, I’ve taken a positon with Domino Records (US), fine purveyors of alternative artists. Being a critic and working at a label puts me in a right compromising position, one that will be solved by my not expressing opinions regarding Domino artists. This unfortunately means I’ll have to refrain from further editorializing on Domino artists I’ve written about before – Animal Collective, Dirty Projectors, Cass McCombs, The Notwist, Arctic Monkeys – but is the best route to ensure things don’t get cloudy around here. There is a chance that I will decide to report facts - without critique or comment – from events I attend (for example, Animal Collective’s show at Prospect Park that I bought tickets for months and months ago), but should I do so, will disclose things of that nature to you, the T-Sides readers. Credibility and integrity still remain two facets I hold dear, despite being known as a blogger and the source of my current paycheck.

Van Morrison: “Domino” (YouTube)

As promised, T-Sides is once again tapping the writing well. There hasn’t been much in the way of live shows to whip us into a frenzy, but new release season is finally picking up.

Quick-witted Lily Allen has a new one that doesn’t quite live up to the pop accessibility of her first, and there are not one but two albums by actor-musicians that are actually quite good: Coconut Records, solo project of Jason Schwartzman, and Steve Martin’s bluegrass record.

Additionally, to celebrate Valentine’s Day, the Popdose staff chose to talk about things we love: books, movies, albums. I selected one of each, as did each staff member. There are lots of great selections. See if you can guess what I picked!

Brandy: “Where Are You Now?” (download)

I “fell in love” so many times in high school that it’s hard to know who to classify as the first, but Damon was the first time I fell hard. Really hard.

We met in a summer program through a local occupational school that allowed you to take a culinary arts class in the summer and get credit for it. The program lasted for half of the summer, and you actually got to run a restaurant, which you’d cycle through each section of. Damon was two years older than me, and very mature and well dressed for a high school guy in Washington state. He worked at the Gap at the mall 15 minutes from my house.

We became fast friends, which quickly grew to stronger feelings on my end. Damon was the guy I’d talk to for hours on my private phone line late at night, hiding the receiver in my sweatshirt hood so I could quickly feign sleep if my mom came in to check on me. If it wasn’t the phone, we would talk for hours on AIM, and I’d frequently fall asleep on the couch in the computer room, waiting for him to sign on. (Author’s note: I don’t miss high school.)

Damon was a pretty talented piano player and singer, and I was constantly harassing him into performing for me. Somewhere in my childhood bedroom, I have a tape of him singing an on the spot version of U2’s “If God Will Send His Angels.”

During my formative years, I’d become obsessed with Baz Luhrmann’s Romeo + Juliet, including the soundtrack, and Des’ree’s “Kissing You” was my sad-romantic anthem. So, for my birthday one year, Damon came over and played and sang to “Kissing You” on the piano for me. It was one of the happiest moments of my adolescent life.

Des’ree: “Kissing You” (download)

My feelings went unfulfilled, and we eventually lost touch, but we reconnected not too long ago. (Hello, Damon, if you ever read this, and apologies if you’re embarrassed, but don’t be!) I still always think of him when I hear that song, and I still always smile when I think of him.