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Sensory Overload at the Commodore from the Music
By Sprout
Staff Writer
Vancouver
January 22, 2005
According to the notoriously fickle British press, the heirs to the musical legacy of the Beatles, Led Zeppelin, and the Who include Oasis, the Libertines, and the Music. The first two have been on the verge of falling apart, making more headlines for their brawls, drug abuse, and alcohol abuse than their albums. Meanwhile, the Music have deprived the tabloids of any tales of debauchery, instead hitting the road to record and promote Welcome to the North.
Leeds' pride and joy, on a brief North American tour, hit the Commodore to a crowd a couple hundred short of a sell-out. It was all the better, though, as the extra space better accommodated the rave-like atmosphere.
The show was nothing short of explosive: the Music went all out with their rock riffs, techno beats, volume, and musical layers.
Harvey's Perry Farrell-like vocals echoed throughout the Commodore, enough to provoke cases of sensory overload. Yes, that blur on the stage was him; Harvey was zipping back and forth all over the place, sweat flying in a manner that could rival SNFU's Kenny Chinn. In contrast, Adam Nutter (guitar) and Stuart Coleman (bass) spent the night hardly moving, eyes fixed to the ground. Phil Jordan was a powerhouse behind the drums, flailing about madly with Keith Moon-like rolls.
It's hard to criticize the Music for such a brief show (a little more than an hour) and their lack of encore, but at the same time, the Music demanded one's full attention to the aural experience and Harvey's commanding stage presence. Such sensory overload left several in the crowd drained by the time the curtains closed.
The Waking Eyes, on the other hand, were more subdued. Offering a dose of straight-laced pop rock, with subtle psychedelic touches, the Winnipeg foursome weren't spectacular, but were solid. Nice job with their cover of the Beatles' Come Together also, which was only fitting since the band's songs could easily fit on the Blue Album.
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