morgen
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| I'm a web developer by trade, but really loving this whole photography thing. I get to go to live shows and write about it... and people read it! Sweet. Find me on twitter: @moregie | |
The Long Winters at the Crocodile
Never heard of the Newton Girls? How about Rad Snafu? Yes, well, neither had anyone else until about a week ago. The Crocodile quietly disclosed performances by each of these bands, held less than a week apart. Eventually they let it slip that the bands were in disguise, and the craftier among us could figure it out via anagram. Luckily, there were much smarter people than me in my Twitter feed that discovered the bands to be the Long Winters and Nada Surf.
Grand Hallway at the Crocodile
The Long Winters were preceded by Grand Hallway, an amazing group in their own right. They are talented musicians from other bands around town like the Maldives, Shenandoah Davis, and the Head and The Heart. Tomo Nakayama has a subtle power in his voice that commands attention from his audience. The crowd may have been sparse--the large group yet to come was only interested in the main act--but Grand Hallway gave credit to their name, filling every nook and cranny with their lingering melodies.
The Long Winters came on stage to a nearly (if not completely) sold-out crowd of die-hard fans. It had been a long time since they had played in front of a Seattle crowd, or as frontman John Roderick put it: "Way too long."
Half of them were newbies to the group: Eric Corson moved from bass to guitar, they've grabbed a new drummer to fill Nabil Ayers mighty shoes, and a friend of John's stepped in on the bass.
It was a helluva show that started with the entirety of what would turn out be their Sasquatch set, as well as a Crocodile-only bonus set. Roderick hit on most of the favorites from all the Long Winters' albums, including "Carparts," "Cinnamon," "Clouds," and "The Commander Thinks Aloud." I was left breathless and wired for the next couple of days. Hell, even if you weren't a fan, Roderick's tongue-in-cheek charm displayed between songs would have won you over in a second.
Pearly Gate Music at the Crocodile
A few short days later, while all those chumps were sitting in post-Sasquatch traffic, the Croc was filled to the rafters yet again. This time with a slightly different crowd (noticeably older) but just as feverish for the music to come.
Pearly Gate Music started out the night. Zach Tillman played a solo gig at the Round at Fremont Abbey last month that gave quite a different impression than Monday night. Their lyrics are at times touching and others funny, but always heartfelt.
Nada Surf has been around a long time. I had no idea how long until lead vocalist Matthew Caws noted it'd been fourteen years since the first time they had played in Seattle. They have a surprising number of hits you might recognize from the soundtracks of television shows like How I Met Your Mother, One Tree Hill, and Six Feet Under. There was little--if any--early-era Nada played, dating way back to when "Popular" was their big hit. Despite (or because of) the lack of oldies, the show was amazing.
They may have been around the block, but these guys played like they were twenty-year olds, just excited to be onstage playing songs they believe in. You couldn't help but get swept up in it.
Hey Marseilles @ The Tractor Tavern
Saturday night I squeezed into the Tractor with the rest of the sold-out crowd to see Conservative Dad, The Head and the Heart, and Hey Marseilles. This show was a little while in coming, since Hey Marseilles has been in the studio re-editing their debut To Travels & Trunks for national release and on newly-pressed vinyl.
Conservative Dad @ The Tractor Tavern
Con Dad started their set quickly before the crowd got too rowdy squishing into the main room. They've been likened to Death Cab for Cutie, but I'm not sure I'd put them in a box like that, especially since last year they put out four EPs, each with a different sound than the last. Sure, they've a familiar sound, and the typical rock band lineup (drummer, singer-guitarist, backup singer-guitarist, and guitarist-keyboardist-backup singer), but there's a little something else mixed in you can't seem to put your finger on that keeps it from being monotonous and boring.
The Head and The Heart @ The Tractor Tavern
The Head and the Heart has been getting a lot of hype around town, but I seem to have kept a wary distance between their music and my ears. Their sound is gorgeous, and they really show that off in a venue like the Tractor. The passion in each of their faces and the way they smile at each other, as if they're sharing some kind of secret, adds a lot to the experience. The overall feeling after their set is sweet happiness, like you're hanging out on the back porch during a warm summer's day with friends, drinking beer, and telling stories.
The night ended with a bang as Hey Marseilles took the stage. Every show they play has its own feel, and that has a lot to do with venue itself. Smaller venues bring the audience that much closer to the band, and that's when this group really shines. One of the best things about them is their enthusiasm for the music they play and the fans; in the intimate setting they're at ease, allowing them to just have fun.
Hey Marseilles @ The Tractor Tavern
I'm never quite sure how Hey Marseilles manage to fit all seven band members on small stages without some kind of vaudevillian mishap, but they manage it with a joyous style all their own. The Tractor show was their last for a while in Seattle. They're back on the road and headed down the Coast, and over into Nevada and Idaho in July. But don't fret, they've got a couple Seattle appearances lined up for June, and they'll play the Doe Bay Fest (if you were lucky enough to have grabbed a ticket to the sold-out event) in August.
Sxip Shirey @ Showbox at the Market
Wednesday night at the Showbox was an experience to behold. Headlining was Amanda Palmer with Sxip Shirey, Evelyn Evelyn, and Jason Webley rounding out the bill. I knew of the Dresden Dolls and Amanda Palmer's gothic, over-the-top style, and I'm a huge fan of the song "Coin Operated Boy," but that was about the extent of my preconceptions. A friend at the show explained that this tour was one big act, despite the seriousness with which Palmer talked about Evelyn Evelyn.
The emcee, Sxip Shirey, started out the evening with an act of his own. He's a puppeteer by trade, having done a children's show out of New York for many years, but in this show he's a one-man orchestra extraordinaire. He doesn't take the typical cymbals-on-knees route, but instead has a case full of distortion pedals, so the only instruments he needs are his mouth and the array of small plastic noisemakers on the table beside him. The best way to describe is to say it's a combination of hip hop, rap, and children's rock music. His insane salt-and-pepper fro, red-and-black-pinstripe suit, and gravelly voice come together in an almost Tim Burton style.
Evelyn Evelyn @ Showbox at the Market
Evelyn Evelyn was the strangest (and funniest) part of the evening. Two ladies shyly made their way on stage wearing one huge dress whose material resembled a Victorian couch. They both had straight black hair held back by a headband and very pale skin. Something seemed a little funny about these two, especially since one of them had an adam's apple. They regaled us with several amusing tunes all having to do with their sister Evelyn, which Sxip had already told us happen to be both of their names, hence the band's name. Of course, it was Amanda Palmer and Jason Webley under that big dress and their voices in unison were ham and cheese (really great by themselves, but fireworks when put together).
Jason Webley @ Showbox at the Market
Webley, having stripped out of the dress, hair, and makeup and changed back into his own clothes, made his way up on stage. The hometown boy jumped right into his music by strapping on an accordion and throwing on a dapper hat circa 1950s Ed Norton. From that moment on, I was riveted. Webley has a voice like thick sandpaper rubbing over asphalt, his enthusiasm was insane--he didn't stop moving for the entire set.
He'd brought in a stomp stage, a small platform about as high as a two-by-four on its side rigged with microphones underneath. Every time he stomped or jumped, it sounded like a booming bass drum, and he did it frequently with fantastic rhythm. By the end, he'd been running around, stomping, and flipping his hat vaudville-style so enthusiastically that he was pouring sweat, all with a smile on his face. I had to take a deep breath after his performance, having been on the edge of my seat the whole time.
Amanda Palmer @ Showbox at the Market
Palmer joined Webley before he left the stage singing a couple of duets as themselves this time. Her voice rang through the Showbox like I've rarely heard before. She has a lower register, making her sound sultry and a little more dirty (in that oh-so-good kind of way). She's able to fill the entire space with just one note, and I was floored for the third time that night. She came onstage in her typical bra, corset, and combat boots, pulling the look off with a strong grace. I think a lot of that has to do with the confidence she exudes and how comfortable she is in her own skin.
The rest of the evening she took requests and sang with passion. She also spoke candidly and honestly about herself, love for her fans, her upcoming nuptuals with Neil Gaiman, and her relief at being recently released from her record contract. The show went on late (well past midnight) but no one seemed bothered by that. I usually leave a show feeling like there were better parts than others, or that one of the openers was lousy. But the entirety of this show left me feeling fully enwrapped in the experience. It's been a while since that's happened, and I've gotta tell you, it felt good.
brent knopf of ramona falls @ the crocodile
About two months ago, I was looking around the web for news about Menomena in hopes they may be touring this summer. No such luck, but I came across the news that Menomena's lead singer, Brent Knopf, formed a side project when recording for their third album was delayed, calling it Ramona Falls. It has one of those unique sounds that keeps you always wanting more.
I have a thing for a solid mix of electronica and beautiful vocals, like you find in Postal Service. It's a hard combination to do right, and a lot of the time it seems to come off cheesy or lacking the sufficient vocal balance. Obviously, Knopf got it right, as I couldn't stop listening to Intuit, their only full-length to date. It's rare that every single track on an album keeps up with the rest, but there is not one sub-par song in the lot.
eighteen individual eyes @ the crocodile
So I was a tad excited that Ramona Falls was playing The Crocodile last Sunday. Opening for them was local all-girl Eighteen Individual Eyes. It was obvious from the start that Eyes is comprised of fantastic musicians. What really makes the group interesting is the composition of their songs. They aren't easy to listen to or short, fun quippy pieces. There's something to be said about crowd-pleasing music, but there's a lot to be said for unadulterated talent. Several of their songs started out with at least a couple minutes of complex instrumental lead-in. It'll take a couple listens of their EP, Slightly Frightened, Mostly Happy, to really get it, but I think that's the sign of something really great. I was left feeling a little mixed in the best way possible.
Back to the mindblowing Ramona Falls. I wasn't sure what to expect from the show--it could have completely bombed depending on how much of the music was actually digitized. I have seen shows where the performer sat behind a computer hitting keys with uncomfortably averted eyes looking everywhere but the audience, and it is not good.
paul alcott of ramona falls @ the crocodile
Knopf does have that shy boyish style, but almost immediately it's taken over by his buoyant and over-joyed sense of wonder. I shouldn't be surprised, since lyrically and musically every song on Intuit is whimsical and makes you want to dance (unfortunately, you're sitting in your cube at work, so you have to settle for wiggling in your seat). Brent's voice is easy to love, sweet with a sharp edge to it, and you can't help but smile right along with him as he hops around on stage.
The set was comprised mostly of vocals and instrumental music, with only a touch of digital here and there. Matt Sheehy was lending his talents on the guitar and mandolin, but he's also working on a self-titled project of his own. It sounds like Knopf might have a hand in it as well, so I'm looking forward to the final result.
48 Hour Film
(courtesy 48hourfilm.com)
It's that time again folks, 48 Hour Film Project time. Every year around the middle of May, the young and old, the new and seasoned, the crazy and crazier make their way around Seattle to write, shoot, edit, score, and hand off their own film, all within 48 hours. Seattle holds its project this weekend so don't be alarmed to see locals running around, video camera in hand, frantically attempting to get that perfect shot.
Each team of as little as one person has exactly 48 hours--from 7 p.m. Friday to 7:30 p.m. Sunday--to complete a film. It has to be at least four but no more than seven minutes, not including the credits. All creativity has to take place within that 48-hour period, with no stock footage or pre-written dialogue or storyline.
The real challenge comes with the required elements. Each one must be created in a specified genre and include a character, prop, and line of dialogue provided at the beginning of the 48-hour period. These elements vary by teams, so you never know what you'll get. You can take a look at past national entries for an idea of what insanity they've gotten themselves into.
Team Gefilte Fish Eye, Tel Aviv (courtesy stillindie.com)
The 48 Hour Film Project isn't just a Seattle event. It was begun in Washington D.C. in 2001 by Mark Ruppert and Liz Langston and has grown exponentially since then.
According to the national 48 Hour site, "in 2009 nearly 40,000 filmmakers made 3,000 films in 76 cities." And this year it's even bigger with 88 cities participating in over 20 countries. Different cities produce the competition at different times of the year, but they all follow the same simple rules.
Krk Nordenstrom has headed up the event in Seattle since its inception in 2005. Apparently participation is a little lower this year, but he hopes that will turn around closer to the actual event.
For those of you interested in taking part, you can still register. The cutoff is at 10 a.m. this Friday May 14, the start date of the competition. All you really need is a video camera, some kind of editing software, and the drive to make it through 48 hours of filmmaking. Having participated in the competition a couple times, I can honestly say there's never a dull moment.
For those of you interested in seeing the end results of this madcap weekend, you don't have to participate to get tickets to the screenings. There are four groups of participating teams and each has their own screening time at the Harvard Exit on May 18 or 19. Non-participants are highly encouraged to attend; local film needs more fans.
I was excited to see Kate Nash at an intimate venue like Neumos. I guess I should have expected the mostly teenaged crowd--given that her music is largely about the angst and bitterness of love, it makes sense.
The opening act was Supercute. Their whole shtick was being teenagers (two age 14, and one 16) and singing about typical teenage girl issues (even while swinging hula hoops, definitely impressive). Again, totally down with that, considering the age of the members and the age of the crowd. I may not be into it, but I can appreciate the music for what it is.
Unfortunately, from the get-go, they seemed to expect everyone to listen to their every word. They shushed the crowed about five times, thinking it would make a difference. The sense of entitlement was off-putting and reminded me of Sparkle Motion from Donnie Darko. Near the end of their 20-minute set, some asses in the balcony were shouting some things about finding them when they are legal, and then a couple items fell into the audience and on the stage. I happened to be next to a girl that was hit by one, which turned out to be a (still wrapped) condom. I thought that was more than rude, but what're you gonna do.
Then things started going south. The audience waited an hour for Nash to come onstage, and the temperature seemed to rise about 20 degrees. Everyone was growing extremely impatient (a group chanting "Kate" started and stopped at least five times). Finally, at around 11:10, Kate Nash wandered over to the far side of the stage, picked up a ring, and put it on her middle finger while giving the entirety of the balcony a very obvious gesture. I figured it was part of her bitchy act to match the music she sings, but she walked to the mic and proceeded to give a lecture.
She berated the entire crowd for treating a band, who she personally selected to come on tour, like crap. She made no apologies for keeping us waiting twice as long as it actually took to set up their equipment. The band seemed to agree with her, as they all were wearing Supercute shirts, an exclamation point on what she was saying. Her anger at the audience seemed to seep into her performance, because it felt pretty flat. I'm a fan, but I wasn't connected to her, the band, or the music.
Long before she came on stage, her roadie put a cloth over the front of her piano that said "A Cunt is a Good Thing to Have." I found this inappropriate for her mostly teenaged (and younger) crowd, but what was worse is that it also obstructed the view for the first few rows of devoted people that had arrived early to grab those coveted spots.
doe bay festival image courtesy of doebayfest.com
What's that? You don't know what the Doe Bay Music Festival is? Why, it's a magical place where local bands converge to spread musical joy to a crowd of a little under one thousand fans basking in the mid-August sun.
Okay, enough of that. Here's the lowdown: it's a two-day festival on Orcas Island comprised solely of Northwest bands that will blow your mind. It's at the Doe Bay Resort and Retreat, which opens their doors (and part of their 33-acre expanse) to campers and music-lovers alike for a two-day intimate music experience. It's a low-key alternative to the huge crowd-laden festivals that we know so well. The whole fest is limited to about 750 tickets, which go on sale this Monday at 9 a.m.
This year it's on August 13th and 14th, just in time for Seattle's weather sweetspot, that time of year when almost every day is heaven on earth: hipsters are puttering on their scooters, beach volleyball is an afternoon staple, and ice cream is an important part of every meal.
Doe Bay Resort image courtesy doebayfest.com
You might be thinking to yourself, It starts on a Friday and ends Saturday night? Yes, it starts on Friday, but if it follows a similar schedule as last year's event, then the acts don't really get going till around 6 or 7 p.m. That leaves you just enough time to trek over to Orcas after work and catch the first act.
As for the logistics, there is really only one way to get over there, by ferry from Anacortes. Unfortunately it's pretty expensive: $44 for car and driver plus $13.45 per passenger, but at least it's free on the ride back! When it comes to sleeping accommodations, the cheapest option is camping out on the grounds, then there's a bed in the local hostel, a yurt that sleeps 5 to 25, or a cabin. If you'd rather have cushier arrangements, there are some beautiful B&Bs in the Doe Bay community.
Doe Bay Resort photo courtesy www.yoursanjuans.com
One major perk of this particular event is the cheap food and drink once you get there. The beer garden was selling their beer for $2 last year. That's right, Sasquatch, two dollars. According to a Seattle Weekly post from the 2009 fest, there were also "local vendors [who] sold falafel and burritos for $5. And huge ice cream cones for $3." There is also a cafe nearby with home-cooked food and a store on site for any other snacky needs you may have. Oh, and don't forget your camera, the views along with the epic stage shows will be Facebook-worthy and then some.
Hey Marseilles @ SXSW Sendoff Bash
Now let's get to the good part: the list of bands that are going to be there. It has me talking like it's 1989, so that should tip you off just how rad it's going to be. First on my list is Hey Marseilles, who will be back again this year after being one man down at 2009's fest. Their guitarist/violinist, Nick Ward, had broken his wrist in a tragic frisbee (or possibly volleyball) accident; the details are highly suspect.
Typically Doe Bay tries not to ask back the same bands every year, so as many groups as possible have the opportunity to play in the small get-together. It seems they just couldn't resist bringing Hey Marseilles back to play in full force this year, and I don't blame them. There is a huge amount of well-deserved buzz around this highly talented six-man orchestral rock band. If you haven't seen them live, or at least listened to their album Travels and Trunks, then you are seriously missing out on a one of the finest bands in Seattle. To top it off, they're a really fun and down-to-earth group of guys with an infectious joy for playing to any audience.
A close second to HM is Grand Hallway, led by the former Maldives (also playing at Doe Bay) member Tomo Nakayama. I caught one of their shows at The Crocodile last month and was simply blown away. They are yet another example of the Seattle orchestral rock scene donning instruments ranging from guitar to violin to accordion. They really know how to bring down the house--luckily they'll be playing outside.
I could go on and on about the acts performing this year, like the fantastic Ravenna Woods, the brilliance of Fences, and the super-fantastic The Head and the Heart, but I'll just list them below and you can make up your own mind (if you're not impressed then you're crazy, just saying). The tickets go on sale this Monday May 10th, and as I mentioned they're limited to about 750 tickets so grab them while you can!
2010 Doe Bay Lineup:
*Grand Archives
* Fruit Bats
* The Maldives
* Hey Marseilles
* Grand Hallway
* Drew Grow & the Pastors' Wives
* THEESatisfaction
* Portland Cello Project
* Fences
* The Dimes
* Zoe Muth & the Lost High Rollers
* Ivan & Alyosha
* Shenandoah Davis
* Kimo Muraki
* Curtains For You
* Ravenna Woods
* Kaylee Cole
* The Head and the Heart
Hospital Ships @ The Triple Door
The Triple Door is an amazing place to see a low-key rock or folk music show, and Thursday night was no exception when Hospital Ships, Wye Oak, and Shearwater dropped in. There was a lot of inter-band play amongst the three--so much so I had to go to their sites to make sure I knew which bands consisted of which members. It made the night that much more fun, knowing that so many good musicians were traveling around together and having a great time.
The evening started off with Lawrence, KS-based Hospital Ships. Afterwards, listening to the songs offered on their MySpace page, it seems that their live show doesn't do them justice. You can only take so many people with you on tour, so the fullness of the album's sound wasn't quite there live. Still, I loved the subtle use of electronic sound present in the back of most of their songs. The sweet melodies sometimes border on haunting, and the soft flow of the music behind it ends up being very complementary.
Wye Oak from Baltimore kept it going with their amazing musical agility. Andy Stack, the keyboardist, drummer, and backing vocalist, killed it playing a drum set, keyboards, and bells at the same time. I had to watch really closely to understand how he managed to do it all. Jenn Wasner, the talented lead singer, added to the mix with fantastic vocals and guitar. Their songs are great, but what really reeled me in was how full the sound was with only two musicians on stage; it was truly impressive.
Jonathan Mieburg of Shearwater @ The Triple Door
Then, of course, ending the evening was Austin's Shearwater. Named for a beautiful long-winged bird, the lyrics often speak of nature, untouched environs, and birds themselves. This comes as no surprise since the lead singer, Jonathan Meiburg, is a birdwatcher and loves to collect new species wherever he goes (and apparently, he collected his first violet-green swallow right here in Seattle). He even has a masters degree in geography after studying the Striated CaraCara in the Falkland Islands, among other places.
Back to the show, the best word to describe it is "beautiful." The Triple Door's starry backdrop added to the serene feel of the night, and the music was phenomenal. With at least six musicians onstage for every song, changing instruments throughout, it was more like watching a ballet than a rock show. The low lighting and romantic ambiance of the Triple Door didn't hurt one bit, but I was definitely entranced by Shearwater's performance.
Grudge Rock with WE and At the Spine @ Crocodile
What do you get when you start with Family Feud and add a heaping spoonful of local music? Grudge Rock at the Crocodile, that's what. The night's agenda typically has the bands battling it out for the first round of feuding, then the band in the lead chooses whether to play their set right then or at the end of the night. After the first set, a second round of the game ends with one of the two groups receiving all the door loot and the other getting a bagload of goodies from local businesses. To top it off, The Professor Jake Stratton (also the announcer at Rat City Rollergirls bouts) hosts the evening with flair and a lot of rock knowledge of his own.
I've been to a few Grudges in the past and it was never a dull time. At the very least, they're really fun and there's some quality music. Even if the bands don't knock your socks off, the gameshow aspect will have you yelling, cheering, and booing along with the rest. Saturday night's Grudge Rock was a hell of a match with At the Spine versus We Wrote the Book on Connectors. Questions like "What does a glam rock star always go on stage with?" and "What's the name of a musician who is known for wearing glasses?" makes everyone want to yell out an answer.
We Wrote the Book on Connectors @ Crocodile
The worst part about this show is trying to hold back that urge--and who wouldn't want to yell when an answer to the glasses question was Ray Charles? It was a tight game up until the last question; as a Family Feud fan, you may know the points double in the second round. WE pulled out all the stops and managed to grab the last score of the night. Don’t feel too bad for At the Spine, they had prizes like Scarecrow Video gift certificates, WE merch, a coupon for some free tattoo work, and swag from Pabst Blue Ribbon in their goody bag.
I may have been a little biased in my cheering Saturday night, as I've been a longtime fan of local goofballs We Wrote the Book on Connectors. Imagine an energetic stage presence (complete with high kicks and synchronized routines), matching shirts or occasional full-on costumes, nerdolicious lyrics, and some great guitar licks. This is the complete package that make up WE. One of the really great things about this band is their balls-out, have a lot of fun on stage, play like there's two-hundred people in the audience type of show even if there's only five actually out there. That's a pretty tough thing to do as performer, especially if you tend to pull in a pretty modest crowd.
We Wrote the Book on Connectors @ Crocodile
In fear of sounding like an infomercial, they have a full-length chockful of great songs that will have giggling, or possibly getting up and doing some rock star kicks of your own. "The Saddest Wrestling Man" and "Captain of the Future" are a couple of my personal favorites from Ride it Out Like a Turbo Horse, but "Dungeon Master" from the EP Almost the Mayors of Laser is the best. Sung from the point of view of a D&D fan, he just wants that special lady to notice him. According to their site, the next show is May 23rd at Chop Suey; be there or be lame.
Conan O'Brien and Andy Richter at McCaw Hall
There were a couple things I knew going in to the Conan O'Brien show Sunday night. It was at McCaw Hall, Conan would be there, and...that's about it. (Sunday also just happened to be Conan's birthday!) Not a lot was said about the show, and no one knew who the guests would be. Would he set it up like a talk show? Would he ride a unicycle for 90 minutes?
It turned out to be an interesting mix, more like a variety act than a comedy tour. There's been some positive and negative talk about the tour, but if you're a huge fan of his talk show, then you probably would have had a fantastic time. The show's opening act, Reggie Watts (formerly of Seattle and currently of Maktub), did a great job of working up the crowd and getting them ready for 90 minutes of hot Coco action. He brought on a lot of laughs with his great mix of electronic music, dirty jokes, and wacky lyrics. The Seattle-specific call-outs really perked up the audience as well as his dazzling voice.
And then on came Conan with a bang, kicking off with a two-minute standing ovation by the awaiting audience. He started with a pretty typical introduction, talking about the tour and its purpose, with quite a bit of the complaints that we've gotten used to hearing from the ex-NBC host over the last three months. The Seattle crowd ate it up, and it must have felt good to have that many people behind him. Guests that joined the comedian onstage included his sidekick Andy Richter, one of his writers, Deon Cole, who did a short stand-up routine, La Bamba and his "Big Band," and that night's special music guest Dave Matthews.
Conan's musical guest Dave Matthews at McCaw Hall
(The patrons of Monday night's show were lucky enough to have musical guests Eddie Vedder and Mike McCready of Pearl Jam grace the stage. According to LiveNation's twitter feed, they played "Baba O'Riley" for the ecstatic packed house.)
Unfortunately, a few of the gags fell short of a laugh for me, but thinking back on the whole experience, it was a good time. One of the highlights was Dave yelling, "F#@& you, Conan!" in jest after having pulled the strategically named "Chuck Norris Handle" (so called due to NBC's possible intellectual property rights to the original Walker Texas Ranger Lever), which played a clip that showed a very young Haley Joel Osment saying, "Walker just told me I have cancer AIDS." Classic. Andy added a few chortles with fake advertisements for Dick's and the Fremont Troll, which he claims has been "smelling like pee since 1990."
I appreciate that Conan wants to keep his people employed until the upcoming TBS show begins, but I think it fell a little short of the excited expectations palpable around the venue before the show. Maybe if he'd done a little less NBC-bashing and a little more of his classic goofy act? The Seattle Times thinks it'll improve with age, once some of the lesser jokes hit the editing room floor and new material takes its place. I just hope TBS-version Conan is happier and more content with his place in life once he's settled in.
