Tag Archive: The Hold Steady


On the face of it, Nova Scotians Wintersleep look like the ideal support act for the Hold Steady – checked shirts and baseball caps seem like standard uniform. But they’re far from a facsimile of their American brethren and play a far subtler brand of indie rock.

Despite winning a Juno award for their 2007 album Welcome to the Night Sky, their profile has remained low in the UK and last year’s New Inheritors has done little to change that. Pity.

Weighty Ghost from …Night Sky – the one song that’s got any kind of airplay here – is a delicate piece of uptempo alt.country and muscular newer numbers like Encyclopaedia and New Inheritors’ title track play to a crowd that warms to them as the set progresses.

They exit on a wall of distorted guitars and thumping drums from the gurning Loel Campbell. Hopefully the next time they play Scotland it’ll be on their own terms.

Then it’s the Hold Steady, who waste absolutely no time in smashing through a lengthy, ‘hit’-packed set. It’s relentless. Same Kooks, Hurricane J and Sequestered in Memphis are all belted out early to rousing cheers from a not-quite-full ABC.

Onstage banter is minimal but it’s hardly needed. Craig Finn’s freewheeling lyrics are in themselves almost banter anyway, and his engagement with the crowd is such that he manages to look just about every fan he can see in the eye at least once.

Things slow up a little for the Sweet Part of the City but it’s a momentary pause to allow both band and crowd to catch their breath. Before too long Finn is demanding we raise a glass to Saint Joe Strummer during Constructive Summer. “Get ‘em up!!” he roars and we duly oblige.

The band race towards the close and pack the finale with some absolute bangers – The Weekenders, Your Little Hoodrat Friend, Chips Ahoy, Stuck Between Stations… it’s at these moments in a band’s set that you click just precisely how many great songs they have up their sleeve – and the Hold Steady’s back catalogue is seriously intimidating.

As ever an extended version of Killer Parties rounds things off, a resounding finish to a night of some good old-fashioned rock and roll.

Best Albums of 2010: 5-1

I’d say it’s been a vintage year for quality music. Before I get into this year’s top five, here’s another 25 that didn’t quick make the list but all come highly recommended by the Tidal Wave of Indifference:

Ariel Pink’s Haunted Graffiti – Before Today

Beach House – Teen Dream

Bear in Heaven - Beast Rest Forth Mouth

Broken Records - Let Me Come Home

Broken Social Scene - Forgiveness Rock Record

Burns Unit - Side Show

Die! Die! Die! – Form

Field Music - Field Music (Measure)

Gorillaz - Plastic Beach

Here We Go Magic - Pigeons

The Hold Steady - Heaven is Whenever

I Build Collapsible Mountains - A Month of Lost Memories

James Yuill - Movement in a Storm

Les Savy Fav - Root for Ruin

Liars – Sisterworld

Maps and Atlases - Perch Patchwork

Mimas - Lifejackets

Mitchell Museum - The Peters Port Memorial Service

No Age - Everything in Between

PVT - Church With No Magic

The Scottish Enlightenment - St Thomas

Serena-Maneesh - No 2: Abyss in B Minor

UNKLE - Where Did The Night Fall

The Unwinding Hours - The Unwinding Hours

Yeasayer - Odd Blood 

I could name plenty more but if I did I’d be sailing dangerously close to ‘just naming every album I picked up this year’ territory. Anyways…

5.         Caribou – Swim

Swim by name, Swim by nature. Aquatic references were all over electronic wizard Dan Snaith’s latest record, reviewed in full here. For me this took electronic music somewhere entirely new and cemented Caribou’s reputation as one of its leading lights.

4.         The Last Battle – Heart of the Land, Soul of the Sea

Ah, of course. There had to be a record by a relatively unknown downbeat Scottish folk troupe near the top of the list didn’t there? The debut album by Leith’s Last Battle, reviewed in full here was the pick of the bunch and a band I’d love to see reach beyond the Scottish scene. This is a particularly lo-fi video from their in-store performance in Edinburgh’s Avalanche a few months back - I was there but mercifully, I’m just out of shot.

3.         Foals – Total Life Forever

Foals could easily have slipped my attention altogether. I passed on their debut Antidotes, dismissing them as NME fodder, but thankfully airplay for Spanish Sahara and Miami prompted me to investigate further and thank god I did. Total Life Forever has depth – both musical and emotional – intricate arrangements and, in Blue Blood, probably the song of the year.

2.         Arcade Fire – The Suburbs

I liked 2007’s Neon Bible but there’s no doubting this is a vast improvement on an album that disappointed many. Described as bloated by some, lacklustre by others, I went into considerable depth about how much I liked it on its release. My opinion hasn’t changed – I still think it’s absolutely brilliant.

1.         Deerhunter – Halcyon Digest

It was always going to be one hell of an album to pip Arcade Fire to the top. And well, here it is. By blending the best elements of indie pop, shoegaze and minimalist electronica into a single record, Bradford Cox has created his masterpiece. An absolute must buy for all music fans. You can read my full review here.

So that’s it for another year. I’ll be doing a bit of a round up of what other sites are saying in the next days, plus a look ahead to 2011. Now it’s over to you – aside from Dundonian mouthpiece Stevie, you’ve all been suspiciously quiet so far – I normally expect a significant amount of piss-taking every year I do this and the list wouldn’t be complete without them, so bring the comments on!!!

Infinite Arms

Album of the Week: Band of Horses – Infinite Arms

Infinite Arms

This album has gotten a wee bit of stick, mixed in with some very high ratings from the big magazines, so I was a little apprehensive when I picked it up and put it on for the first time.

I love both their first albums and was hoping that following the National, Hold Steady and Broken Social Scene, another of my favourite bands would deliver a quality record in May – a month which has played serious mischief with my bank balance.

If the whole thing was as good as the first three tracks, I doubt the comments would have been quite so narky.

Factory is lovely, built on swooning strings, single Compliments, jolly good-time rawk, is an obvious choice for a single and Laredo is classic Band of Horses. But sadly that’s about as good as it gets.

It seems like the critics’ coven have decided that this is their time, and that it doesn’t matter if the acclaim comes for what’s easily their weakest album (for further reading please see Elbow’s 2008 Mercury prize).

It’s not that it’s bad. It’s generally quite listenable but too often lives up to their unfortunate ‘Bland of Horses’ nickname.

Something is clearly missing, and having previously ran his band with an iron fist, I wonder if Ben Bridwell has lost his touch? Tellingly, Dilly and Evening Kitchen, the songs that bandmates Ryan Monroe and Tyler Ramsey have had the greatest input into, are the weakest.

Although the desperate-sounding Grandaddy pastische NW Apt. runs them close. If I were Jason Lytle I’d put in a call to my lawyers.

Perhaps inking a contract with a major label has allowed complacency to set in or maybe Bridwell has just run out of ideas?

Neighbor (and by the way Americans, please learn to bloody spell) is thankfully a strong finish, but overall I feel let down. It’s weak, it’s made for the mass market and doesn’t come remotely close to the mighty Cease to Begin.

Still, a band which can write songs like Is There A Ghost? and No One’s Gonna Love You can’t turn rubbish overnight and there are enough moments on Infinite Arms to ensure I’ll still be interested next time round – but I’ll probably walk to Fopp to get album number four rather than run.

Heaven is Whenever

Album of the Week: The Hold Steady – Heaven is Whenever

Heaven is Whenever

I turned up a little late for the Hold Steady party, stumbling in with a bottle of cheap bourbon and a handful of aspirin, just as things were kicking off.

That meant I’d already missed two albums, including the tremendous Separation Sunday, so probably don’t have quite the same affection for it that others do.

But a mate piqued my curiosity by sticking Banging Camp on a compilation and I was all over their stunning third album (Boys and Girls in America) like a rash.

2008′s Stay Positive was almost as good, so hurrah for another Hold Steady album!

They had me worried though… opening track The Sweet Part of the City is a bit of a curveball, based on steel guitar and with a bit of a maudlin alt.country feel to it.

The Hold Steady aren’t just a raucous bar band and CAN do slow, tender songs (Citrus, for example) and I’m all for a bit of progression but this just felt a bit wrong to me.

But what’s one track out of ten? Soft in the Center is much more like it, kicking off with a blast of Tad Kubler’s guitar and evolving through Craig Finn’s freewheeling vocal style.

On Stay Positive, he demonstrated that he actually sing – and even hit the odd note or two – and Soft… plus the harmonies on the fabulous Weekenders is further evidence towards these guys being much more than a jumped up pub band got lucky.

Lyrically, there’s a few changes too. Rather than recounting tales of Killer Parties, it feels like Finn is addressing the listener much more, which I’m taking as a belated sense of maturity (these guys are all pushing 40 after all).

Themes of teen heartbreak are still prominent though, and other Hold Steady signatures are present and correct, like the brisk guitar solo on The Weekenders and sleazy riffing on The Smidge.

The departure of moustachioed ivory tinkler (and accordion squeezer) Franz Nicolay doesn’t seem too keenly felt either. There’s plenty of piano sprinkled across the album, most notably on Rock Problems.

Where I can imagine his loss being apparent is in the live setting. He was a truly charismatic figure behind his keyboard, and on one occasion added real verve to an impromptu acoustic festival set when they turned up minus most of their equipment (T in the Park ’07 since you ask, and yes, I was there).

No matter, the band lives on and continues to produce quality music. This feels like a lower key release compared to Stay Positive which landed with a blaze of publicity and radio play, but it’s at least that album’s equal, if not quite hitting the heights of Boys and Girls.

We Can Get Together is another slowie but much more in the mould of what I want from this band, not least because of references to Pavement and the mighty Hüsker Dü.

Hurricane J is a joyous singalong, the equal of their many other punch the air anthems and pummelling closer A Slight Discomfort rounds things off rather nicely.

Hurrah, indeed, for another Hold Steady album.

Teed Off

An open letter to Geoff Ellis, boss-man of DF Concerts, promoters of T in the Park.

Dear Geoff,

Thanks for the terribly predictable T in the Park line-up announced last month with only the merest smattering of quality and originality among the commercial dross you’ve picked out.

It’s never bothered me before, as you’ve always managed to book plenty of bands that I, one of your more discerning regulars, appreciate.

Putting Broken Social Scene, Dirty Projectors and Four Tet in there left me optimistic that there would be more where that came from and I would have enough ‘fringe’ music to amuse me, along some of the better populist choices like Muse and Biffy.

So I was tingling with a little excitement when I heard there would be more bands announced last week.

And what do we get? Madness. Jamie T. Paloma Faith.

Oh dear.

Also in there were Delphic (a decent album, but hardly compulsive viewing) and Frank Turner (don’t mind him, but a few friends appreciate his music a lot more than I do). But overall it was still a massive let down.

So that’s 55 acts announced and I’ve counted 14 that I give a toss about with a meagre seven in the ‘must see’ category.

So what does Moany Music Snob of Musselburgh do now?

Simple. I’m voting with my feet.

Or more to the point, my wheels. It’s a nine or ten hour drive to Sussex, but after I finish this post I’ll be booking tickets to Latitude.

Latitude already has a great looking line-up. Aside from the homely, relaxed atmosphere that the festival is said to have, having the National, the xx and Grizzly Bear headline its second stage is an instant stamp of quality.

The Horrors are in there too and Charlotte Gainsbourg will lend the occasion a bit of Gallic class.

It’s the weekend after T so going to both is clearly not an option, both financially and for childcare – so our T tickets are now up for grabs.

This post was meant to be a general moan about the quality of the Balado line-up, under the premise that I would still be going. I’d scribbled down a few thoughts on who I’d like to see you book. The xx and Grizzly Bear were both on that list.

So were LCD Soundsystem and the Hold Steady, but I can’t see that they’ll be added now. With so many big acts now on the bill, it’ll be up and coming acts that’ll pad it out.

Not necessarily a bad thing, but a hell of a chance to take. A lot of folk go to festivals for the craic and the booze, and that’s undoubtedly a massive part of it, but for me it’s mostly about the music.

In the same way that I can barely tolerate being in a pub or club (Clubs! Ha! I remember them…) that’s playing terrible music, I don’t wish to find myself watching Kasabian in a field, hands stuffed in pockets sulking, because there’s nothing better on. And paying £180 for the ‘pleasure’.

James Murphy, Craig Finn and their respective bands almost certainly won’t be playing Latitude either, but the five acts named above give me the sense that it’ll be well worth the cash. There’ll be lots else happening too.

Latitude takes comedy seriously – Marcus Brigstocke and Kevin Bridges have already been announced. There’ll be talks on films and books, a bit of poetry and some theatre.

Now I’m not going to badge myself as a middle class twat at this point and say “I’m going to a festival for the poetry” as that would be a total lie and not what I’m about.

But, as an alternative to watching the latest sadsack Oasis wannabes playing to a bunch of pissed up neds spoiling for a fight, then Bret Easton Ellis doing a reading from one of his books will do nicely thanks.

And even if I did stick to the music, of only 10 bands announced, four fall into the aforementioned ‘must see’ category with Florence the only one that I’d go out of my way to avoid.

Of course, I’m taking a massive risk. It would just be typical that the second I get my confirmation email from Latitude, you’ll send out another press release announcing that Frightened Rabbit (who are surely a no-brainer), Fever Ray and Sigur Rós are to play T.

But fuck it. As much as I’ve enjoyed T since 1999, having been to Connect in ’08, I’ve found the idea of a smaller, more focused festival hugely appealing.

Am I getting old? Probably? Is T’s loss of appeal coinciding with my own music taste spiralling up my backside? Almost certainly. Am I categorically finished with T? Well, Geoff, I’ll never say never on that front. Who knows?

But at least Latitude will have more beards than Buckie and I’ll be more likely to trip over a buggy than a bam.

And as this is effectively ‘our holiday’ for the year, the road trip and scenic setting will make it more fun than tailgating a coach crawling up the M90 with some wee bellend in a football top baring his arse shouting “T in the fuckin’ Park big man!!!!” at us for the whole journey.

Yours sincerely,

“Evil” Stu

Musselburgh

Now…. does anyone want to buy a T in the Park ticket?

This…

…or this?

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