Following a much-raved-about opening slot on this year’s Lollapalooza Festival, you wouldn’t be wrong to assume that playing smaller shows could be a bit of a let down for any other band. Good for us that Dear and the Headlights [Official Site, MySpace] isn’t any other band. On Tuesday, they played to a raucous crowd that was there for headliner Mae, whose album was released the same day, but won over more than one fan based on the amount of DatH merch moving through the venue over the next two hours. On a side note: holy crap, I hated Mae. I understand and appreciate their “Multi-sensory Aesthetic Experience” gimmick, but I don’t think a projector pushing images onto canvas tapestries around the stage is all that cool. Sure, it is for some, it just isn’t my thing and hasn’t been since I was 12. That’s the last I mention Mae here. I want to focus on what worked.

Dear and the Headlights lead singer Ian Metzger launched into their stellar set with bravado, directing his cohorts with exuberance and revealing subtle touches to the lyrics on Small Steps, Heavy Hooves [review]. He made no statements against war, poverty or social responsibility. It was nice to be at a rock show that didn’t involve the acts talking about politics (SMS Note: We get it. It’s a political age. Just effing rock, please!) Despite some minor sound issues; during which the obvious “geniuses” in super tight t-shirts remarked that this sound guy was utterly incompetent, which smacked of Monday morning quarterbacking. Simply put: power goes out. It happens, and sometimes because you have 16 instruments plugged in, it drains to a point that a fuse blows and you really cannot take away the power from anything else without shutting down the whole show. Good thing that PJ Waxman, who serves as both a guitarist and the tour manager, knew the acoustic parts, because Metzger wasn’t going to be able to play, and Peej (my new nickname for him) was a more than adequate sub.

On the whole, the venue proved again why people like to come to the Gramercy. Its unique layout (with stadium seating in the rear of the venue) provides a great view of the artists and allows everyone to enjoy the show even if their energy is lacking (which I needed after a long day in the office prior, and filling dinner at the O.G. with the lady, and having to sit through Mae).

The set was far from pedestrian, but it wasn’t earth-shatteringly amazing. Tuesday’s show was as good as can be when one is standing in front of a crowd of 1000 people there to see a power-pop/rock act that could be the “highbrow” act on Fueled by Ramen. Art and music are more than lights, there needs to be emotional strength at the core of the performance. Dear and the Headlights had that in droves, showing that they long trail they walked to a label deal was well deserved.

As Tall As Lions [Official Site, MySpace] ripped the remnants of the stage apart before the headliners were able to toss up their canvas stands. Having the distinct advantage that most “local-boys-made-good” have, facing an audience full of friendly faces brought more energy and passion to the proceedings; an amazing statement because indie favorites like “Love Love Love (Love Love)” and “Stab City” absolutely soared in a live setting. No lighting or projector tricks were needed to contribute to the appeal of this act, and having already appeared on Jimmy Kimmel Live, the perpetually touring ATAL have an opportunity to cross over to a larger audience if the timing is just perfect. They’re good, no doubt about it.

Their self-titled album [review] garnered rave reviews upon its release, even Greg lovingly referred to them as the “MySpace Monster” the other day, and the band’s set made them front-runners to be the Long Island version of Muse. Julio, the bassist and resident goofy dancer, keeps things in check. The antics of theatrical shoe-gaze were at a minimum, as this act’s music is more important than the appearance of things. They don’t come out to the stage dressed as hobos, don’t get me wrong, but if an act is capable of opening up the show by playing other instruments in the band and then committing a “Chinese Fire Drill” to launch into the material, you know they truly enjoy working and playing together. The first two acts were so good, it made it damn near impossible to watch any more music that night (although, I did because a friend of Widro’s caught me in the men’s room when I was trying to leave). I don’t regret my decision to stick around. It served as a reminder of how very different my musical palate has become in the last ten years and how very glad I am to have what some would deem “good taste.”

A stellar show worth checking out if you want to see for yourself where music is headed, both good (Dear and the Headlights and As Tall As Lions) and bad (not saying that name again).

Last 5 posts by Shawn M. Smith

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