Traditionally, Canadian pop stars, Tegan and Sara have fared well with Milwaukee audiences (opening for the Killers in 2005, selling out the Pabst Theater in 2008), so it came as a bit of a shock that Thursday night’s show at the Riverside was anything but sold out. The mostly barren balcony quickly became an afterthought though, as soon as the Quinn sisters took the stage, giving license to the hundreds of teenage girls packing the main floor to scream indefinitely.

Touring in support of Sainthood – their sixth studio album – the girls were definitely not stingy with the new material, playing several Sainthood songs (“The Ocean,” “On Directing,” “Hell”) before exploring material from their back catalog, starting with So Jealous.

Known for their quirky stage banter, the Quinn sisters stayed true to form by delivering random anecdotes between songs. Most of the conversation was lighthearted and humorous in nature (their mother illegally downloading music, the creepy basement underworld of The Rave), but things got semi-uncomfortable when Tegan made a slight reference to her failed 5-year relationship that inspired The Con. One wonders how her current partner feels about such an open dialogue at this point.

As the evening at the Riverside progressed in became clear that Tegan and Sara would be unable to replicate the atmosphere of energy captured so perfectly during their previous Milwaukee performance at The Pabst. Their bigger songs, “Nineteen” and “The Con” in particular, failed to match the level of intensity generated at the more intimate venue nearly two years ago. It’s not that the girls’ playing wasn’t up to par – they were spot on actually – it was just a lack of collective energy caused by the absence of a full balcony.

Judging by their summer plans of playing select dates on the resurrected Lilith Fair tour and a joint tour with Paramore planned for late summer/early fall (8/14 Milwaukee date at Summerfest grounds), it’s safe to say that the girls are more than ready to take their act to a bigger stage. Hell, they deserve it; they’ve been paying their dues for over ten years now. But will they have the crossover appeal to draw more mainstream listeners, or will they simply retain the niche audience they currently hold? I’m sure there are some veteran fans that would be less than enthused at the prospect of losing their current connection to the band only possible in the smaller, more intimate venues, but more Tegan and Sara for the world is ultimately the greater good.

“The Ocean”

-Jacob Schneider

Love them or hate them, Vampire Weekend is good at one thing, playing live music. But since the release of the band’s sophomore album Contra, the best way to describe how Vampire Weekend is currently perceived in the world of popular music would be polarizing. Not because of some radical shift in their style of music (not yet anyway), but their enormous popularity has opened the floodgates for detractors, many of whom were probably the same folks that lauded the group’s self-titled debut as album of the year in 2008.

But hey, it’s easy to attack a bunch of polo wearing Columbia graduates and their elite grammatical commentary when you hardly mention their music, or simply state that they grew up too rich to be punk rock. On the other hand, it’s not like anybody is saying that Vampire Weekend is the new Talking Heads. Shit, somebody did make that comparison? Let’s just stick with the Paul Simon similarities for now folks.

Given that Milwaukee was host to two separate listening parties for Contra the week before its release; it’s no surprise that this show sold out when it did. I had full intentions of getting the best possible seats in the house by camping out in line for this general admission show at the Riverside, but my veteran concert skills were no match for the tenacity of this teenage mob of hipsters and their skinny jeans. Soon after my 6:00pm arrival, I realized I had been beaten to the punch. The line was already wrapped around Plankinton Avenue well past Mo’s Steak House. Floor seating was no longer a viable option; front row balcony was now the priority.

We enjoyed our unobstructed view of the opening act, Abe Vigoda, from the left side of the raised seating. Taking their name from the actor who portrayed Sal Tessio in The Godfather series (lead singer, Michael Vidal says, “they like the way the name sounds phonetically.”), this Los Angeles tropical punk outfit takes more than just a few cues from the ‘80s pop music. Subtle hints of Duran Duran, The Cure, even New Order were present in their short, but deserving set.

After a brief intermission, Vampire Weekend took the stage to the sounds of DJ Kool’s “Let Me Clear My Throat.” Taking no heed to the words of Mr. Kool, Ezra Koenig dove right into his spiraling squeals on the opening track, “White Sky.”

Koenig kept the crowd entertained between songs by praising Milwaukee’s best offerings, including the aesthetics of the theater (mentioning that the Riverside’s chandelier was much older and larger than the ones they had brought) and noting that our river walk was top-notch, even better than San Antonio’s. Yes Milwaukee, better than San Antonio.

The crowd lost its collective shit over the rip-roaring “Cousins” and “A-Punk” early in the evening, so much so that the balcony was shaking quite noticeably.

Towards the end of the set “Giving up the Gun” was played. The song seems well received by some and outright shunned by others. But judging by the amount of A-list of celebrity appearances Vampire Weekend stuck into the music video (Joe Jonas, RZA, Jake Gyllenhaal, etc.) don’t be surprised if the band takes this sound and runs with it for their next album. It might not be nearly as spry as their other material, but those synths grooves and pulsing bass lines are pretty damn catchy.

Judging by Tuesday night’s show at the Riverside, Vampire Weekend is a band whose main priority is maintaining the standard of their live performance through the quality and accuracy of their playing. There were no bells and whistles on stage that so often come with bands hyped to this magnitude, just a few hanging chandeliers and a massive backdrop of the Contra album cover were the only stage props needed. Koenig and Co. let the music do most of the talking for them, and Koenig’s vocals were pristine. Even though his vocals can annoy at times (“One (Blake’s Got a New Face)” pre-song banter), they sounded remarkably similar to the studio recordings.

“Cape Cod Kwassa Kwassa”

“A-Punk”

“Oxford Comma”

“Mansard Roof”

“Holiday”

“California English”

-Jacob Schneider

By Michael Ray

Movie theaters were once glorious, architectural masterpieces where all classes of people could gather for an inexpensive night on the town. Palaces like Grauman’s Chinese Theatre, with its celebrity footprints cast in concrete, were the norm and a night at the movies was something special.

Hollywood was a wonderland full of amazing movie stars like Charlie Chaplin, Mary Pickford and the Marx Brothers. Movies were an escape from the realities of daily life, especially following the Great Depression. And though this all might seem like just some long ago and far away dream, for a few hours at the Skylight Opera Theatre here in Milwaukee, audiences are taken back.

A Day in Hollywood/A Night in the Ukraine is essentially two one-act plays that function and flow as a tribute to Hollywood’s glory days and its early comedy heroes the Marx Brothers.

A Day in Hollywood winds through the movie music of the 1930s as told by the star struck ushers at Grauman’s, whose singing and tap dancing prepares the audience for a special Marx Brothers film.

The most enjoyable parts of Hollywood include the mixed medley of “It All Comes out of the Piano,” and a hilariously sung trip through the Motion Picture Production Code of 1930 governing onscreen sex and violence—kisses may last for no more than six seconds with a closed dry mouth, by the way.

After all that preparation and dancing, and a short intermission, the Marx brothers, led by Norman Moses’ Groucho as “a most obnoxious lawyer,” showed that perfect comic timing and chemistry is all but dead. A Night in the Ukraine, loosely based on Anton Chekov’s play, The Bear, reminded audiences why the brothers are still regarded as comedy geniuses.

Benjamin Howes and Norman Moses

The wrong mix of Marx brothers could have made for a lackluster show, but there was none of that here. Moses nailed it, tossing insult after overwhelming insult at Mrs. Pavlenko (Carol Greif Schuele). Benjamin Howes’ Chico and Ray Jivoff’s Harpo mixed naivety with joviality to round out the energy.

Jivoff especially was the brother to watch, whether climbing under the piano or sneaking up to the balcony to watch Melinda Pfundstein’s Nina cry over a man, all the time shoveling popcorn in his mouth. For a character that never spoke a word, it’s especially impressive to see him own a stage.

Schuele’s take on Pavlenko, both fascinated and horrified at Groucho the entire play, helped open up some of the Brother’s funnier lines.

Pfundstein and her love interest Constantine, played by Chase Stoeger, poked fun at themselves through a measured bit of overacting and found themselves keeping pace with the Marxist insanity twirling around them.

Together the cast managed to create a highly entertaining show, doing the past and its stars justice. Hollywood might no longer be Hollywood, and movies may no longer be movies, but one night at the Skylight can bring it back.

When this show was announced back in December, the idea of attending was something I seriously contemplated, but at the time I was seriously strapped for cash. Christmas was steadily approaching, and gifts were the priority; concert tickets would have to take a back seat. As the months and weeks drew near, the more I regretted my decision.

I had never been a Muse devotee, but I was definitely keen to their bigger songs (“Starlight,” “Knights of Cydonia, etc.), and with each new listen, I was growing fond of The Resistance. Silversun Pickups on the other hand, have had me since day one. Admittedly, I was originally drawn in by the Smashing Pumpkins similarities, but since the release of Swoon (with its rich textures and great depths), there hasn’t been a doubt in my mind that this band is on the path to greatness.

Muse and Silversun Pickups at the United Center; it’s an insanely good double bill, and of course it had no problem selling out in a matter of weeks. Luckily for me, I had entered a facebook contest through the United Center and was declared the winner of two tickets. In full disclosure, I must admit that these were probably the best seats I have had at a show of this magnitude.

Silversun Pickups delivered, just as I suspected they would. Despite having already seen them twice in the past year (touring on the same material), their set remained captivating throughout; watching them perform to a sold out room of 23,000 people certainly didn’t hurt the level of interest either.

“Panic Switch”

“The Royal We”

Muse absolutely, 100 percent, blew my mind at this show. Not only did they pull out one of the most animated live stage shows I have ever seen, but they had the musical chops to back it up. I have no problem admitting I arrived late to the party with this band, but rest assured, I won’t be missing them the next time they come around stateside.

Into>”The Uprising”

“Supermassive Black Hole”

“Starlight”

-Jacob Schneider

The Beatles arrival into musical history began nearly 50 years ago as four kids from Liverpool leaving rock ‘n’ roll repercussions that can still be felt today. Their music is a testament of social change, lyrical brilliance and the true nature of celebrity.

Rain-A Tribute to the Beatles arrives at the Milwaukee Theatre, 500 W. Kilbourn, on Sunday for a one-night-only, one-of-a-kind revue that traces the history of The Beatles with spot-on musical performances. For generations that never had the chance to see the band live, Rain is hailed by many as the next best thing. Joe Bithorn, who plays George Harrison, talks to the Post.

UWM Post: Tell me a little about your musical background, what you learned growing up in New York.

Bithorn: My mom had worked for a fellow by the name of Alexander who was one of the world’s greatest violinists at the time. Out of that office, there were all these incredible musicians coming in and out. As a kid this was the norm to me. I was like 3 or 4 years old and this was before it was politically incorrect to bring your children to work
And I just remember these people as, they were just wonderful, great, you know, people that were just very very nice to my mom. And every once in a while we’d go to this place called Carnegie Hall and see them work. And I was blown away.
As a kid I could go there and be very well behaved and just, you know, just zone out into the music.

Post: So a lot of your musical tastes came from these musicians that worked in the office with your mother. Was your father an influence as well?

Bithorn: My father was a fan of classical music and opera, and jazz as well. And all this is coming at me in New York City in a very concentrated way, along with my little AM radio that I used to keep under my pillow to hear pop music which was pretty much, at that point, well integrated.
So we didn’t call it race music or whatever, you know it was all the same. It’s hard to believe sometimes that that actually was different way back when. But, you know, I got to listen to a lot of R&B, a lot of early Rock ‘n’ Roll that was coming through.

Post: And then of course, The Beatles appear on the scene.

Bithorn: Suddenly here I am living in Manhattan and a whole bunch of blocks away at the Ed Sullivan Theater, The Beatles appear. This is 1964 and I’m just, you know, there, a little kid in front of the television just looking at this going “oh my, this is quite good, this would be an interesting line of work to have at some point.” And I had already been doing harmonies at that point. I eventually started playing guitar around the age of eight.

Post: So then of course, you did enter that line of work.

Bithorn: I would’ve been a black sheep in my family had I not been a musician. At the time I was listening to the Beatles stuff and the early rock ‘n roll stuff. People were playing and telling me about Charlie Parker and Thelonious Monk, who actually lived in my neighborhood. We were pretty scared of him because he was a pretty strange guy, but an incredible jazz composer.

I learned about all that stuff, about Dizzy [Gillespie] who actually recruited my cousins to be in his band when they were in college. I remember Dizzy being at my uncle’s house for dinner, talking to my cousin’s parents about bringing them on the road. And John Coltrane of course, Miles Davis and all of that just kind of crept in, all seeping in everything.

Post: So it became a part of your show, a part of your music at the time. And you were working all this time?

Bithorn: I had been working at that time. I had learned a song by a group called Cream and had learned the solo and all the guitar stuff. I had a good dosage of Eric [Clapton], Jimmy Page and the American of the bunch, Jimi Hendrix.

Post: And from there you moved from solo work into more collaborative work.

Bithorn: All of a sudden I’m being recruited by older kids to play in their bands. At the time the technology was 16 track, two inch tape. We were like 16 tracks, whooo! It was a great experience. It taught me a lot about how I had to come up with things. Playing clubs and doing my thing, I kind of came into my own.

Post: And how did that lead into your work with Rain?

Bithorn: I tried out for a show called “Beatlemania” [on Broadway] which I had never seen. A friend of mine was recruited and he asked me to come along because he thought I’d be a good fit. I ended up with “Beatlemania” and did that for about two years. Since I’d never seen it, they gave me the crash course.

Post: That one audition then opened the door for something bigger.

Bithorn: Well little did I know that the audition was ongoing, so to speak. I worked through my trial by fire, got through it and then I heard about auditions for Rain. And I found out that Joey Curatolo was going to be the Paul and I had always wanted to work with him.
I thought you know, I’m gonna do this, I’m gonna check this out. So I was in L.A. with the Beatlemania show and I went over to Mark Lewis’ house, he was one of the founding members. I took my guitar and he had his piano and I played both parts of the “And Your Bird Can Sing” and he was like “Ok, what else can you do?” and he had me sing. And that was it, and I got into the band at that point and I’ve been in since 1983.

Post: From those early days, how did the band turn into the phenomenon it is today?

Bithorn: Rain had started off in the bars, doing county fairs and eventually we worked our way into cruise ships. Eventually we got into the casinos. One casino in Lake Tahoe came to us and wanted to replace one of the revue shows with our show. They wanted to know what we could come up with.

Post: So you designed the show.

Bithorn: So we designed the show, similar to the one that people will see in Milwaukee. It was the beginnings of that show with video clips, similar to what we were doing with the Beatlemania show but in our own way.
Post: And the show explores the many phases of The Beatles’ music and style right?

Bithorn: It’s a history lesson, so to speak, set in chronological order. The pieces of history you see are timed to what period of music we are portraying on stage as the Beatles. The music is the star and all the technology is a dressing.

Post: The picture in many people’s head of a Beatles’ concert is the crazy, screaming fandom ala Shea Stadium. Does Rain get that type of response?

Bithorn: We sort of project into that experience. We have a segment of our show where we go through the Shea Stadium period and we show some of the shots of that, but we also do shots of the audience as well. It’s kind of a funny thing. They can be watching it and all of a sudden they might see themselves up on the big screen. It’s kind of a cool way to bring them into it.

Post: As Beatles music moves into a new century, Rain is obviously still doing great and Beatles music is still a huge part of culture. How do you feel about movies like Across the Universe reinterpreting that music for a new generation?

Bithorn: Anytime I hear that [Beatles] music, I’m thrilled to see that it’s still in the media somehow, even if it’s done by other people. People have to take care with it though. The Beatles themselves cared an awful lot about their product. They were Liverpool guys who didn’t have a lot of money and when they did, they wanted to go to the record store. Sometimes they’d buy something and then take it home to find it’s some cheap imitation.
Their experiences taught them that they wanted to make sure that when somebody gets a Beatles product that it’s quality.

Post: If you could speak to someone considering going to the show, what would you say?

Bithorn: If you’re a Beatles fan and you miss this, you’re going to be really sorry. Our show is really becoming more of a soundtrack of a whole generation, of people from six to sixty. Come on down and enjoy it.

For more information about Rain‘s Milwaukee appearance or to buy tickets, visit http://www.milwaukeetheatre.com/categories/4-milwaukeetheatre .

Listen Milwaukee; if you didn’t make it out to Mad Planet last night to see the Constellations, you blew it. The near sold out show, sponsored by 88.9 Radio Milwaukee, will likely be the last time the Atlanta eight-piece performs in the intimate confines of one of Milwaukee’s smallest venues.

I can honestly say – without any exaggeration – that the Constellations are on the verge of a major breakthrough. Recently signed to Virgin Records, and fresh off the Snoop Dogg “Malice in Wonderland” tour, The Constellations will finally give their debut album, Southern Gothic, a proper release June 22.

Coinciding with the release of the album, the group has plans to hit up the summer festival circuit. Just before the show started, Radio Milwaukee DJ, Tarik Moody confirmed that the Constellations will be performing at Bonnaroo, Lollapalooza, and Summerfest.

The Constellations @ Mad Planet 03-10-10 “We’re Here To Save The Day”

“Perfect Day”

“Setback”

“Love is a Murder”

“Waiting for the Man” [Velvet Underground Cover]

-Jacob Schneider

"Ya blew it!"

If the humor in Tim and Eric Awesome Show, Great Job! is starting to feel redundant, then good, you’re getting it. Throughout the pass four seasons of the Adult Swim comedy, Tim Heidecker and Eric Wareheim have done all in their ability to create a “nightmare version of television” that slowly builds off of the same painfully awkward jokes and recurring characters.

Influenced heavily from public access television, infomercials, and the 1980’s, the duo has created a sort of anti-humor that’s strikingly original. Their deadpan brand of humor forces viewers to create their own punch lines, and it results in a truly engaging community of fans.

Season Cinco’s premiere featured a parody of Saturday Night Live, an ad for a new Cinco product called the “Diarrhea-phragm,” and a sketch called “Quall of Duty,” which featured the much loved David Liebe Hart and his latest puppet.

While the show is not for the faint of heart, many of us here at the UWM Post quite enjoy their cunning social satire. Lets hope for another great season. And Tim, don’t blow it!

Tim and Eric Awesome Show, Great Job! airs Sunday nights at 11:30pm on The Adult Swim.

Check out the “Season Cinco” promo

-TS

In recent months, John Mayer has become one of the most elusive musicians of our times, but in 2006 things were different. Mayer’s third album, Continuum was a stony, groove-heavy album that blurred genres as a reverb-thick batch of hook-laden tunes. Mayer even had the balls to cover “Bold As Love” with real taste. Because of its audacity, anything set to follow would inevitably pale in comparison.

With the release of Battle Studies in November, many fans and critics agreed – including Mayer himself, who admitted in his February Rolling Stone interview, “John Mayer’s Dirty Mind & Lonely Heart,” that considering the album his best was simply “bullshit.”

That Rolling Stone interview has also quietly launched a series of controversy, as Mayer also (and to some, rather inappropriately) discussed his sexuality, ex-girlfriends, and bowel movements with an attention to detail that deeply disturbed the media. Prior to the release of Battle Studies, it’s easy to forget the rough times Mayer experienced – a tumultuous break-up with Jennifer Aniston, the divorce of his parents this past summer…the list goes on. Despite the response from his interview with Rolling Stone, he more or less shrugged off his overly-candid comments.

Then on February 10^th, 2010, Mayer conducted an interview with Playboy Magazine, which launched the current controversy surrounding his name. In the eye-opening course of events, the jazzy troubadour discusses pornography, the transition from musician to celebrity, and having a “n***** pass,” among other things.

He discussed his third-life crisis with moving candor, but made it hard to ignore his colorful comments, especially those that sought to explain what “being black” was like. In an attempt to intellectualize his racial slurs, he sounded downright foolish. What followed later that day was a tearful apology onstage at his concert in Nashville, TN. In many ways, though, the damage has already been done. Red-flagged as a racist, a misogynist, and other things, it’s been a slow bounce back to his job as a musician over the last couple of weeks.

Perhaps Monday night marks a chance for Mayer to make amends by bringing his “Battle Studies” world tour to the Bradley Center downtown. It is important to separate Mayer’s public and private identities in preparation for the gig, particularly in relation to his new album. The same “Split Screen Sadness” is there on Battle Studies, but he’s in a different headspace these days. The Battle Studies material builds more slowly, subtly, unpredictably.  It also does not beg for the extended soloing and live reworking that his other material has. Few have been ready for this change, but it will surely make his performance all the more interesting.

Mayer Shredding Blues Guitar Solo

- Graham Marlowe

Revealing itself hour-by-hour through failed flash updates and second hand twitter feeds, this year’s Bonnaroo lineup announcement was delivered in a fashion that made the NFL draft seem bearable. At the end of the day, the ace in the hole for Superfly Productions was Stevie Wonder. A far cry from the speculation that suggested Roger Waters, Neil Young, and Paul McCartney were strong possibilities.

Now that the dust has settled, let’s attempt make sense of the most diverse and confusing lineup Roo organizers have thrown our way in the nine years of its existence.

With 10 hours of driving time (624 miles) between Milwaukee and Manchester, Tennessee; the looming question remains, “is this year’s Bonnaroo lineup worth the haul?” Well, judging by the perspective headliners, not really.

When viewing the first six acts listed on the initial lineup as the festival headliners (Dave Matthews, Jay-Z, Stevie Wonder, Kings of Leon, Weezer, and Tenacious D), there is a definite lack of a “wow-factor,” at least for those of us living in the Midwest.

Considering recent performances:

• Dave Matthews Band plays two nights at Alpine Valley every summer, and this year is no different.  Zac Brown Band will open for DMB Saturday and Sunday night during the Fourth of July weekend.

• While Jay-Z hasn’t performed in Milwaukee since the 2003 “Rock The Mic” tour, there has been ample opportunity to catch him in Chicago in the past several years. Keeping that tradition alive, Jay-Z will perform as part of his “Blueprint III” tour at the United Center, Thursday, March 18.

• Summerfest 2008 and 2009 featured performances from Stevie Wonder at the Marcus Amphitheater both years. If you weren’t dying to see him then, it’s doubtful that you would drive all the way to Tennessee to see him now.

• After playing the Eagles Ballroom in November of 2008, Kings of Leon returned to Milwaukee to play the city’s largest venue, the Bradley Center, in September of 2009. A month before that, the brothers Caleb headlined the Budweiser stage on the opening night of Lollapalooza.

• Weezer played the Eagles Ballroom this past December, just weeks before a bus accident caused a spleen injury serious enough that Rivers Cuomo was forced to cancel the remaining dates of Weezer’s “Raditude” tour.

• Tenacious D. That’s right, “the fucking D” will be performing at this year’s Bonnaroo. While this is awesome news, I must remind you that Mr. Jack Black took a nasty spill on stage while warming up the crowd for the Beastie Boys, as part of the “Get Out and Vote” tour back in November 2008.

That being said, this year’s Roo is all about the late-night sets and the undercards.

Wayne Coyne let it slip prematurely that The Flaming Lips will be performing a regular set, followed by a late-night performance of Pink Floyd’s Dark Side of the Moon.

Other potential late-night sets include: LCD Soundsystem, Thievery Corporation, Deadmau5, Gwar, The Disco Biscuits, and the long overdue combination of Daryl Hall & Chromeo that we’ve been waiting for since this little get together.

Unlike last year’s lineup which seemed to have pockets of genre identity woven throughout the four-day festival, the highlights of this lineup are scattered all over the musical grid. Things should flesh out in greater detail as the 2^nd and 3^rd rounds of artist announcements roll out.

Last year’s Bonnaroo had a total of 155 artists, including comedians; this year’s lineup has only 92 artists confirmed thus far. Let’s hope the peeps at Superly have a couple more tricks up their sleeves before things kick off June 10.

Tickets for Bonnaroo June 10-13 2010 can be purchased here.

-J.S.

Confirming long believed rumors that Pavement would be the main headliner of this year’s Pitchfork Music Festival, festival organizers have released the initial lineup, and tickets are now being sold here.

The festival takes place in Chicago’s Union Park July 16,17,18. Single day passes can be purchased for $40, and three-day passes can be purchased for $90. There will be no two-day passes this year.

Friday, July 16

• Modest Mouse

Saturday, July 17

• LCD Soundsystem
• Raekwon

Sunday, July 18

• Pavement
• St. Vincent
• Lightning Bolt
• Cass McCombs
• Sleigh Bells
• Here We Go Magic

More to be announced soon.

Video: Girl Talk ft. Grizzly Bear “The Knife” 2007

-J.S.