Advertisement
Bowery Ballroom, New York, March 12, 1999
The women at Bowery Ballroom collectively swooned when the opening
chords of "Willing to Wait" rang out, and they sang along with
guitarist Lou Barlow as he promised his undying
affection and subservience. "I'm willing to wait my turn to be with
you," they chimed in unison. "I still have a lot to learn about
me/And no one's sure if we should be together." |
During songs like "Brand New Love," "Too Pure" and "Soul and Fire,"
there was much singing along and wistful tossing of heads as Lou,
face hidden behind his own dark tresses, showcased his sensitivity.
It was an affirmation-fest better suited to Lifetime Television
than a swank downtown rock club.
Things got stranger still when gentle Sebadoh
rocked out like some Nirvana-fied punk outfit on bassist
Jason Lowenstein's songs. "It's All You," "Bird in
the Hand" and "Mind Reader" eschew Barlow's
I-didn't-know-how-much-I-loved-you-til-you-were-gone lyrics for
less lovelorn sentiments such as "All washed down the drain" and "I
don't know what to say to you!" And where Lou, bravely singing
through a sore throat, warbled and crooned, Jason screamed and
shredded.
The audience loved all of it.
Having relocated to Los Angeles from western Massachusetts, Sebadoh are sounding sharp these days, even if the songs on their latest release, The Sebadoh, are a little undistinguished. They opened with their best new song, "Weird," where Lou's sore throat was a definite advantage. After rasping perfectly through the quiet chorus -- "The paranoia's contagious/I'm coming down with it too/You better throw your trust of the fire/Before I do" -- Lou slammed back into the muscular riff that the band opened their set with. New drummer Russ Pollard forcefully drove the rave-ups (mostly Lowenstein's songs), but wisely laid back on the gentler fare.
For the encore, Pollard and Lowenstein switched off playing bass and drums, robbing "On Fire" and "The Freed Pig," two of Sebadoh's best songs, of the rhythmic intensity that make both of them essential listening on record. Neither musician played poorly, but both are just plain better on their main instrument. With songs this strong, though, it almost didn't matter. "The Freed Pig," with its bitter, clever sarcasm, and "On Fire," resigned and insightful, are what Sebadoh are all about -- transcending alienation through music.
And that's a rock & roll truth, no matter what kind of song
conveys it.
RODD MCLEOD(March 15, 1999)