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Concert Reviews

Concert Review: OK GO at Nashville’s Mercy Lounge



When most casual fans are asked about the band Ok Go, a good number will respond by mention something about one particular (and infamous) You Tube video. In fact, that dancing-on-treadmills music video is how the band first began to make some big steps forward, and from there they continued releasing more and more inventive videos (ranging from their choreographed marching band clip to their terribly satisfying Rube Goldberg Machine), all the while creating a sizeable Internet fan base. Don’t be fooled though, the music video for “Here It Goes Again” may have over 50,000,000 views on You Tube, but what brings fans back for more is the lasting impression of their “dancey” art pop rock.

It’s not too often that there’s a line of people snaking all the way out to parking lot gates an hour before any show at Nashville’s Mercy Lounge. This was the case though for last week’s Ok Go show, and even as the sky began to sleet, waiting concertgoers remained in high spirits. Once making it in from the unholy cold, everyone was greeted with a pair of 3D glasses before taking their place in the crowd.

However, by the time opening act Samuel took the stage, the previously spirited crowd turned into typically lethargic Nashville audience. Samuel tried to rouse the sleepy mass with bass heavy pop sing-alongs, while the second act Those Darlins tore though their garage-informed southern rock set with songs about “being to hungry to have sex” and a hot cover of The Guess Who’s “Shakin’ All Over.”

Seemingly tired of the crowd’s lack of gusto, Nikki Darling warmed things up by hopping off that stage to start up some dancing.

Before Ok Go took the stage, their crew set up and adjusted an intriguingly strange array of instruments—ranging from an easily identifiable drum set and bass to a large set of chimes and what appeared to be small video cameras mounted on the microphones. The band finally emerged, looking a bit like walking crayons in their colored suits of blue, yellow, green and red, and kicked off the set with “Do What You Want.”

They didn’t waste time starting up the confetti machine, which proved to be almost as important as their drummer, due to it’s showering of the crowd several times during almost every song. It’s hard to imagine so much confetti outside of a Flaming Lips concert or a music festival, but truth be told, you can never have too much confetti.

While working through songs off both their older Oh No album and their newest disc, Of The Blue Colour Of The Sky, they incorporated different homemade gadgets, one of which appeared to be a little box with a light attached which emitted different frequencies when played with by Damian Kulash, the lead vocalist, guitar player, and charismatic circus leader of the show.

On his left bounced their bass player Tim Nordwind in his signature sunglasses, and on his right was Andy Ross, who switched between guitar, double neck guitar, keyboard, and chimes.

At one point, a table full of bells was pulled onto the stage and Dan Konopka, the drummer, joined the rest of the band front and center to don some white gloves. After shushing the crowd, they proceeded to play an entire song with hand bells.

After, and in order to play “Last Leaf” “hippie-style,” Kulash grabbed his guitar and mic stand and set up in the middle of the crowd to perform the song amidst cell phone clutching fans. Being a very media aware band (as shown through their large online presence), they paused midway through the show to announce that they were videotaping the show, and that if concertgoers texted email addresses to the number on the stage screen, they would receive a recording of one of the songs from that night. Then, Damian took a picture of the crowd so everyone could tag themselves on Facebook.

Eventually, the band announced to the crowd that it was time to put on their 3D glasses so they could watch the music video for White Knuckles in 3D on the stage screen. It was these little random things that made the movements of the show greatly embody the nerdy dance rock that is Ok Go.

After being cheered back on stage for an encore, the band stood side-by-side facing away from the crowd in order to show the backs of their jackets light up and create a sort of human slot machine. After having all the jackets land on the grand prize, the crowd was showered in yet more confetti, and the band broke out light-up guitars with faux fur and lasers attached to the heads. (Nordwind had modified his bass to show a light up rolling script alongside his lasers.) To say the least, it had quite an effect on the crowd.

After the show, a surprisingly wide variety of fans trudged through mounds of confetti towards the door, from the man easily old enough to be someone’s father sporting an Ok Go ball cap to the young girls toting a sign that said “OK GO IS SO DAMN HOT!”

While Ok Go’s live show felt like one of their music videos came to life and decided to have a party, it is also perhaps a taste of the future of the concert experience that fans of varying ages can enjoy.

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Concert Reviews

Concert Review: Over the Rhine at the Birchmere



Karin Bergquist and Linford Detweiler are perhaps the antithesis of Ike and Tina or George and Tammy: they’re two people who have been married and singing together for twenty years and still seem to have a happy and functional relationship. Oh, and they’ve got some incredible songs, too.

The duo, joined by four stellar musicians (especially deserving of recognition is pedal steel/harmonica/lap steel whiz Jason Goforth), captivated a near-capacity Birchmere on Sunday night with an hour and forty minutes of music and eminently quotable storytelling about events that seemed like, as Bergqist defined it, “a head-on collision between comedy and tragedy,” like “Only God Can Save Us Now,” a part amusing, part heartwrenching tale about the denizens of Bergquist’s mother’s nursing home.

Nearly all of the fourteen song set came from new album The Long Surrender, with the exception of a couple past cuts like “Trouble,” which sounded straight off Doris Day’s Latin for Lovers album. Both Detweiler and Bergquist are heavily influenced by American music history, something that was evident on “Undamned,” which drew on old hymns and also found Detweiler stepping out from behind his piano and strapping on a guitar. “There’s a Bluebird in My Heart,” meanwhile, is a torch song that sounds straight out of some prewar jazz club (turns out it’s influenced by a Bukowski poem). Bergquist has some major pipes, sultry, smoky, and seriously powerful; in the words of her husband, she can—and did—sing her ass off.

The band closed the evening with “No-Kill Shelter,” a lively boogie for the stray dog in us all that was inspired by the couple’s own propensity for taking in strays. In our interview last week with Linford Detweiler, he hoped that last night’s show would make “people laugh really hard, and if they tear up, that’s great, too. I hope the experience causes a whole array of feelings. Maybe they’ll get to see people doing what we were born to do, and hopefully that feeling will be contagious.” Mission accomplished.


The Laugh of Recognition

Rave On

The Sharpest Blade



I’m On a Roll (to be covered by The Judds on their upcoming album. Yeah.)

The King Knows How

Oh Yeah By the Way

Infamous Love Song

Only God Can Save Us Now

There’s a Bluebird in My Heart


Days Like This

All My Favorite People


Drunkard’s Prayer

No-Kill Shelter

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Concert Reviews

Concert Review: Lucinda Williams at the 9:30 Club



Like scotch and George Clooney, Lucinda Williams just keeps getting better with age. Last night the 58-year old queen of Americana enthralled a sold out 9:30 Club with nearly two hours of songs, charmingly awkward stage banter, and two encores.

Though she didn’t play any tracks from Happy Woman Blues or Ramblin’, the set list covered the majority of her career with songs that ranged from “I Just Wanted to See You So Bad” from her late ‘80s self-titled record and  “Pineola” (from 1992’s Sweet Old World), to a handful of cuts from her newest album Blessed, released last month. Williams’ voice, which could peel paint, has that incredible ability to cut right to your heart, especially when paired with her introspective songwriting. But just because she’s introspective on songs like “Sweet Old World” and “Convince Me” doesn’t mean that she can’t tear it up when needed. Her band—especially guitarist Val McCallum of Jackshit—tore it up with some fantastic shredding on “Unsuffer Me” and the gritty “Real Live Bleeding Fingers and Broken Guitar Strings” while Williams alternated between an acoustic Gibson and sparkly Telecaster.

Williams isn’t one for stage banter, refraining until an audience member begged “Talk to us, Lucinda!” She complied with a brief tale about watching Glenn Beck talk about “nuclear physics or something” before abandoning that train of thought and putting her guitar back on. She was infinitely more self-assured behind that guitar, belting out “Essence,” which may be the sexiest song ever recorded, and the innuendo-laden blues-influenced tune “Honeybee.”

Opening act Dylan LeBlanc came out to join Williams and band for the first encore, and stuck around for the second, which consisted of a cover of Buffalo Springfield’s “For What It’s Worth” (you know, that “stop, children, what’s that sound” song) that Williams sent out to the Wisconsin protestors with a few peace signs and a “Power to the people.” The crowd ate it up, chanting along to the chorus before heading back out into the rainy DC night.


I Just Wanted to See You So Bad

Fruits of My Labor

Metal Firecracker

Still I Long for Your Kiss


Drunken Angel


I Don’t Know How You’re Livin’

Sweet Old World

Born to be Loved

Convince Me

Seeing Black

Essence (seriously, this is the sexiest song ever)

Unsuffer Me

Real Live Bleeding Fingers and Broken Guitar Strings


Changed the Locks




Get Right with God



For What It’s Worth (Buffalo Springfield cover)

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Concert Reviews

Concert Review: Mumford & Sons at The War Memorial in Nashville



Even in Music City, U.S.A., very rarely does a band come along that is so innovative and emotionally captivating that an entire room hangs on every single note and lyric the band plays. This past Monday evening, I was fortunate enough to experience this twice with the London quartet Mumford & Sons, first at showcase at The Basement near downtown Nashville, then at the sold out full show at the War Memorial Auditorium.

If you haven’t been to The Basement, it’s quite smaller than the name leads on. If a band can survive the proximity and pressure of expectations in a small Nashville venue, they can be expected to succeed just about anywhere.

Even running a little behind, Mumford & Sons executed this brilliantly. Equipped with an upright bass, banjo, Martin acoustic guitar, pedal bass drum, and an accordion, the guys reassured the crowd why they’ve had such a quick rise to fame since forming in 2007. Their musicianship was flawless, even with the undesired and heavily reverberated sound setup. The intensity of the nature of the songs and the response they received from the crowd was apparent through all four songs.

Upon closing the preview set, the band sent their thanks and was gone quicker than they came. Even after waiting in line longer than the actual performance, the only negative thought escaping from the crowd was that Mumford & Sons didn’t play their breakthrough single “Little Lion Man.” They had to leave the crowd wanting more at their main show downtown, right?

A lot can be said just by looking at the crowd that a band pulls in. Even if you had never heard Mumford & Son’s progressive sound, you could guess their influences by the attire worn in the War Memorial Auditorium. There were women in flower dresses and cowboy boots, plenty of plaid button ups—some worn with boots, others worn with Converses—some men in skinny jeans, and a wide variety of leather jackets. These indie, rock, country, bluegrass, folk, and pop fans were all crowded on the general admission main floor and seated in the balcony above.

With a total span of two hours of opening acts, including both artsy British rock (King Charles) and country/bluegrass throwdown (Cadillac Sky), the audience was methodically warmed up for everything Mumford & Sons would hit them with for the remaining two hours, or so I thought.

The only words Mumford said before beginning the first song were “Good evening.” The room instantly went silent as the band began their title track “Sigh No More.” A sort of déjà vu began as the room’s responsiveness was if not equal, but more passionate than back at The Basement. The crowd sang along, clapped along, stomped along, and jumped along through each song the quartet played.

However, the main difference in this set was the scale of the show. A bigger venue meant more fans, but also more instruments. The band added a keyboard, played by Ben Lovett, and lap steele, played by Winston Marshall. A brass duo also backed up the band throughout the night. What was extremely impressive was the band was so versatile with their ability to play such a variety of instruments. With some newly written songs, “Keep the Earth Below My Feet” and “Lover of the Light,” the band expanded their bluegrass instrumentation using an electric guitar, electric bass (Ted Dwane), and full drum set.

In the entire two hours, while playing through majority of their debut album, the energy in the room never dropped, but was only built upon. With the help of simple lighting accenting the bass drum hits, the rhythm of the songs began to feel like a defibrillator forcing the crowd’s hearts to beat in sync with the music.

The stand out moment of the night was during the encore. Mumford & Sons welcomed out legendary bluegrass band Old Crow Medicine Show to sing a couple songs, including the hit “Rock Me Like A Wagon Wheel.” I’ve never seen an entire crowd glow with such adoration, exhilaration, and energy.

It’s safe to say that this Monday, Nashville was hit with a British invasion—but Music City welcomed Mumford & Sons with true Southern hospitality, in hopes that they would return again soon.

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