*** Full US Tour Dates Announced !!! ***
03/29/09 Cambridge, MA - TT The Bear's Place
03/30/09 Brooklyn, NY - Union Hall
03/31/09 Albany, NY - Valentine's w/ The Hold Steady
04/01/09 Buffalo, NY - Tralf Music Hall w/ The Hold Steady
04/02/09 Grand Rapids, MI - Calvin College Fine Arts Center w/ The Hold Steady
04/03/09 Urbana, IL - Courtyard Cafe w/ The Hold Steady
04/04/09 Bloomington, IN - Jakes Nightclub w/ The Hold Steady
04/05/09 Chicago, IL - Schubas w/ Tallest Man on Earth
04/06/09 St. Louis, MO - Gargoyle w/ The Hold Steady
04/07/09 Iowa City, IA - The Picador w/ The Hold Steady
04/08/09 Omaha, NE - Slowdown w/ The Hold Steady
04/10/09 Boulder, CO - Fox Theatre w/ The Hold Steady
04/11/09 Salt Lake City, UT - Urban Lounge w/ The Hold Steady
04/13/09 Las Vegas, NV - Beauty Bar w/ The Hold Steady
04/14/09 Stateline, NV - Harrah's Tahoe South Shore w/ The Hold Steady
04/15/09 Sacramento, CA - Harlow's w/ The Hold Steady
04/17/09 Seattle, WA - Jules Maes Saloon
04/18/09 Portland, OR - Doug Fir Lounge w/ Mt. St. Helens Vietnam Band
04/20/09 San Francisco, CA - Bottom of the Hill
04/21/09 Los Angeles, CA - The Echo
04/22/09 Phoenix, AZ - Modified
04/24/09 Austin, TX - Mohawk
04/25/09 Denton, TX - Rubber Gloves
04/26/09 Nashville, TN - Exit/In
04/27/09 Knoxville, TN - The Pilot Light
Friday, March 20, 2009
Friday, February 27, 2009
Monday, December 22, 2008
02/19/09 Oostende, Belgium - Manuscript
02/20/09 Lille, France - L'Aeronef
02/21/09 Clermont Ferrand, France - Nuits de Alligator @ La Cooperative Club
02/22/09 Bordeaux, France - Le St X
02/24/09 Paris, France - Maroquinerie
02/25/09 Evreux, France - Nuits de Alligator @ L'Abordage
02/26/09 Amsterdam, NL - Paradiso
02/27/09 Groningen, NL - Vera
02/28/09 Den Bosch, NL - W2
03/01/09 Antwerp, Belgium - Trix
03/02/09 Brussel, Belgium - Botanique
03/04/09 Munchen, Germany - Orange House
03/05/09 Leipzig, Germany - NATO
03/06/09 Hannover, Germany - Cafe Glocksee
with The Hold Steady:
03/31/09 Albany, NY - Valentine's
04/01/09 Buffalo, NY - Tralf Music Hall
04/03/09 Urbana, IL - Courtyard Cafe
04/04/09 Bloomington, IN - Jakes Nightclub
04/06/09 St. Louis, MO - Gargoyle
04/07/09 Iowa City, IA - The Picador
04/08/09 Omaha, NE - Slowdown
04/10/09 Boulder, CO - Fox Theatre
04/11/09 Salt Lake City, UT - Urban Lounge
04/13/09 Reno, NV - The Underground **CANCELLED ** RE-Scheduling to VEGAS
04/14/09 Stateline, NV - Harrah's Tahoe South Shore
04/15/09 Sacramento, CA - Harlow's
04/16/09 - May 2009 - The War on drugs Hits the road home alone....
Dates and Venues TBA: San Francisco, Seattle, Portland, LA, Tucson, Austin, Nashville, Chicago
02/20/09 Lille, France - L'Aeronef
02/21/09 Clermont Ferrand, France - Nuits de Alligator @ La Cooperative Club
02/22/09 Bordeaux, France - Le St X
02/24/09 Paris, France - Maroquinerie
02/25/09 Evreux, France - Nuits de Alligator @ L'Abordage
02/26/09 Amsterdam, NL - Paradiso
02/27/09 Groningen, NL - Vera
02/28/09 Den Bosch, NL - W2
03/01/09 Antwerp, Belgium - Trix
03/02/09 Brussel, Belgium - Botanique
03/04/09 Munchen, Germany - Orange House
03/05/09 Leipzig, Germany - NATO
03/06/09 Hannover, Germany - Cafe Glocksee
with The Hold Steady:
03/31/09 Albany, NY - Valentine's
04/01/09 Buffalo, NY - Tralf Music Hall
04/03/09 Urbana, IL - Courtyard Cafe
04/04/09 Bloomington, IN - Jakes Nightclub
04/06/09 St. Louis, MO - Gargoyle
04/07/09 Iowa City, IA - The Picador
04/08/09 Omaha, NE - Slowdown
04/10/09 Boulder, CO - Fox Theatre
04/11/09 Salt Lake City, UT - Urban Lounge
04/13/09 Reno, NV - The Underground **CANCELLED ** RE-Scheduling to VEGAS
04/14/09 Stateline, NV - Harrah's Tahoe South Shore
04/15/09 Sacramento, CA - Harlow's
04/16/09 - May 2009 - The War on drugs Hits the road home alone....
Dates and Venues TBA: San Francisco, Seattle, Portland, LA, Tucson, Austin, Nashville, Chicago
Wednesday, November 19, 2008
DECEMBER TOUR DATES ANNOUNCED:
12/09/08 Pontiac, MI - The Pike Room at The Crofoot w/ The High Strung
12/10/08 Rock Island, IL - Huckleberry's Pizza Parlor
12/11/08 Chicago, IL - Schuba's
12/12/08 Bloomington, IN - Bear's Place
12/13/08 Pittsburgh, PA - Brillobox
12/14/08 Brooklyn, NY - Union Hall
12/15/08 New York, NY - Mercury Lounge
12/18/08 Philadelphia, PA - Johnny Brenda's w/ Joshua Marcus and COMOROS
12/09/08 Pontiac, MI - The Pike Room at The Crofoot w/ The High Strung
12/10/08 Rock Island, IL - Huckleberry's Pizza Parlor
12/11/08 Chicago, IL - Schuba's
12/12/08 Bloomington, IN - Bear's Place
12/13/08 Pittsburgh, PA - Brillobox
12/14/08 Brooklyn, NY - Union Hall
12/15/08 New York, NY - Mercury Lounge
12/18/08 Philadelphia, PA - Johnny Brenda's w/ Joshua Marcus and COMOROS
Sunday, October 5, 2008
...and now the rest of the story:
They should have just started a 35-date European tour as guests of The Hold Steady, who pulled all their shows earlier this week due to the hospitalisation of guitarist Tad Kubler. Instead, Philadelphia’s War On Drugs find themselves stranded in London, where they were probably considering busking as an alternative to starving on the capital’s streets before being added at the last minute to tonight’s Club Uncut bill at the Borderline.
Continued...
I’m sympathetic to their current circumstances and being left on their uppers by the cancellation of the Hold Steady tour and the exposure it would have brought them is no joke in anyone’s language. At the same time, I’m wholly glad they’re here tonight, because what their opening set, a frantic 30 minutes or so, packed from floor to ceiling with moments of startling rapture and abandoned mayhem, is as good as anything I’ve seen all year.
You may have read in reviews of their debut album, Wagonwheel Blues, that WOD’s music occupies an interface between the classic American songwriting of Dylan, Springsteen and Tom Petty and the sonic adventures of The Velvet Underground, say, or My Bloody Valentine.
It’s a notion you may briefly have entertained and them dismissed without hearing the album as surely fanciful. The thing is, the description – especially when you hear them live – isn’t at all far-fetched, begins in fact to feel like it actually undersells a lot of the amazing things they get up to and the fearsome noise of which they are capable, breathtakingly exciting aural landscapes wrought from nothing more apparently than a Rickenbacker, a drummer with the dynamic whack of the young Mitch Mitchell, an acoustic guitar and what looks like an array of wired-up kitchen utensils one of the band must have found at the back of someone’s garage.
They’ve just started “Arms Like Boulders”, which also opens Wagonwheel Blues, when I arrive hot-foot from Pete Molinari’s Uncut promotion at Borders and they are already in full flight, Adam Granduciel, looking beneath a tangle of hair uncannily at times like lost West Coast singer-songwriter Dino Valente, whaling away on a battered acoustic guitar, the band whipping up a firestorm behind him.
You can hear echoes in his voice of Petty, for sure, but the exclamatory phrasing, daring and acute, is more noticeably reminiscent of a Dylan just gone electric and simply buzzing. You can hear Dylan in the following “Taking The Farm”, but here the backing sounds like a demented version of Paul Simon’s “Graceland”, warped, furious, insanely catchy.
As is, you’d have to say, the somewhat more serene drift of “Buenos Aires Beach” they’re playing now, its warm glow an overture to the absolute meltdown of the 10-minute “Show Me The Coast” they play next. Years ago, in Glasgow, I saw Dylan play a version of “Masters Of War”, whose arrangement that night seemed inspired by the Velvet Underground’s “Black Angel’s Death Song”. Tonight, War On Drugs give us a hint of what it might have sounded like if Bob had appeared on “Sister Ray”, whose relentless annihilation is fearsomely replicated.
They end with an equally fierce version of “A Needle In Your Eye #16”, which Granduciel reminds the audience appeared on Uncut’s Let It Roll CD that accompanied “issue 152, the one with Liam or Noel Gallagher, the ugly brother, whoever he is” on the cover.
War On Drugs have been so good that what follows has an almost inevitable air of anti-climax.
alan jones, Editor of UNCUT magazine
They should have just started a 35-date European tour as guests of The Hold Steady, who pulled all their shows earlier this week due to the hospitalisation of guitarist Tad Kubler. Instead, Philadelphia’s War On Drugs find themselves stranded in London, where they were probably considering busking as an alternative to starving on the capital’s streets before being added at the last minute to tonight’s Club Uncut bill at the Borderline.
Continued...
I’m sympathetic to their current circumstances and being left on their uppers by the cancellation of the Hold Steady tour and the exposure it would have brought them is no joke in anyone’s language. At the same time, I’m wholly glad they’re here tonight, because what their opening set, a frantic 30 minutes or so, packed from floor to ceiling with moments of startling rapture and abandoned mayhem, is as good as anything I’ve seen all year.
You may have read in reviews of their debut album, Wagonwheel Blues, that WOD’s music occupies an interface between the classic American songwriting of Dylan, Springsteen and Tom Petty and the sonic adventures of The Velvet Underground, say, or My Bloody Valentine.
It’s a notion you may briefly have entertained and them dismissed without hearing the album as surely fanciful. The thing is, the description – especially when you hear them live – isn’t at all far-fetched, begins in fact to feel like it actually undersells a lot of the amazing things they get up to and the fearsome noise of which they are capable, breathtakingly exciting aural landscapes wrought from nothing more apparently than a Rickenbacker, a drummer with the dynamic whack of the young Mitch Mitchell, an acoustic guitar and what looks like an array of wired-up kitchen utensils one of the band must have found at the back of someone’s garage.
They’ve just started “Arms Like Boulders”, which also opens Wagonwheel Blues, when I arrive hot-foot from Pete Molinari’s Uncut promotion at Borders and they are already in full flight, Adam Granduciel, looking beneath a tangle of hair uncannily at times like lost West Coast singer-songwriter Dino Valente, whaling away on a battered acoustic guitar, the band whipping up a firestorm behind him.
You can hear echoes in his voice of Petty, for sure, but the exclamatory phrasing, daring and acute, is more noticeably reminiscent of a Dylan just gone electric and simply buzzing. You can hear Dylan in the following “Taking The Farm”, but here the backing sounds like a demented version of Paul Simon’s “Graceland”, warped, furious, insanely catchy.
As is, you’d have to say, the somewhat more serene drift of “Buenos Aires Beach” they’re playing now, its warm glow an overture to the absolute meltdown of the 10-minute “Show Me The Coast” they play next. Years ago, in Glasgow, I saw Dylan play a version of “Masters Of War”, whose arrangement that night seemed inspired by the Velvet Underground’s “Black Angel’s Death Song”. Tonight, War On Drugs give us a hint of what it might have sounded like if Bob had appeared on “Sister Ray”, whose relentless annihilation is fearsomely replicated.
They end with an equally fierce version of “A Needle In Your Eye #16”, which Granduciel reminds the audience appeared on Uncut’s Let It Roll CD that accompanied “issue 152, the one with Liam or Noel Gallagher, the ugly brother, whoever he is” on the cover.
War On Drugs have been so good that what follows has an almost inevitable air of anti-climax.
alan jones, Editor of UNCUT magazine
...and now the rest of the story:
They should have just started a 35-date European tour as guests of The Hold Steady, who pulled all their shows earlier this week due to the hospitalisation of guitarist Tad Kubler. Instead, Philadelphia’s War On Drugs find themselves stranded in London, where they were probably considering busking as an alternative to starving on the capital’s streets before being added at the last minute to tonight’s Club Uncut bill at the Borderline.
Continued...
I’m sympathetic to their current circumstances and being left on their uppers by the cancellation of the Hold Steady tour and the exposure it would have brought them is no joke in anyone’s language. At the same time, I’m wholly glad they’re here tonight, because what their opening set, a frantic 30 minutes or so, packed from floor to ceiling with moments of startling rapture and abandoned mayhem, is as good as anything I’ve seen all year.
You may have read in reviews of their debut album, Wagonwheel Blues, that WOD’s music occupies an interface between the classic American songwriting of Dylan, Springsteen and Tom Petty and the sonic adventures of The Velvet Underground, say, or My Bloody Valentine.
It’s a notion you may briefly have entertained and them dismissed without hearing the album as surely fanciful. The thing is, the description – especially when you hear them live – isn’t at all far-fetched, begins in fact to feel like it actually undersells a lot of the amazing things they get up to and the fearsome noise of which they are capable, breathtakingly exciting aural landscapes wrought from nothing more apparently than a Rickenbacker, a drummer with the dynamic whack of the young Mitch Mitchell, an acoustic guitar and what looks like an array of wired-up kitchen utensils one of the band must have found at the back of someone’s garage.
They’ve just started “Arms Like Boulders”, which also opens Wagonwheel Blues, when I arrive hot-foot from Pete Molinari’s Uncut promotion at Borders and they are already in full flight, Adam Granduciel, looking beneath a tangle of hair uncannily at times like lost West Coast singer-songwriter Dino Valente, whaling away on a battered acoustic guitar, the band whipping up a firestorm behind him.
You can hear echoes in his voice of Petty, for sure, but the exclamatory phrasing, daring and acute, is more noticeably reminiscent of a Dylan just gone electric and simply buzzing. You can hear Dylan in the following “Taking The Farm”, but here the backing sounds like a demented version of Paul Simon’s “Graceland”, warped, furious, insanely catchy.
As is, you’d have to say, the somewhat more serene drift of “Buenos Aires Beach” they’re playing now, its warm glow an overture to the absolute meltdown of the 10-minute “Show Me The Coast” they play next. Years ago, in Glasgow, I saw Dylan play a version of “Masters Of War”, whose arrangement that night seemed inspired by the Velvet Underground’s “Black Angel’s Death Song”. Tonight, War On Drugs give us a hint of what it might have sounded like if Bob had appeared on “Sister Ray”, whose relentless annihilation is fearsomely replicated.
They end with an equally fierce version of “A Needle In Your Eye #16”, which Granduciel reminds the audience appeared on Uncut’s Let It Roll CD that accompanied “issue 152, the one with Liam or Noel Gallagher, the ugly brother, whoever he is” on the cover.
War On Drugs have been so good that what follows has an almost inevitable air of anti-climax.
The Dudes are loud and rocky, two of them sport unfashionable moustaches and severe haircuts and a third is wearing an AC/DC T-shirt. I’d been expecting some bar band rumble, but they turn out, surprisingly, to be more Queen than Crazy Horse. On one number with a typically big chorus, they even attempt a kind of “Radio Ga Ga” clap-along.
Vancouver’s Ladyhawk are louder and hairier, their between-song banter makes them sound like characters from South Park and with names like Duffy Driediger, Darcy Hancock and Sean Hawryluk, they would not be out of place among Thomas Pynchon’s intrepid Chums Of Chance in Against The Day.
alan jones, Editor of UNCUT magazine
They should have just started a 35-date European tour as guests of The Hold Steady, who pulled all their shows earlier this week due to the hospitalisation of guitarist Tad Kubler. Instead, Philadelphia’s War On Drugs find themselves stranded in London, where they were probably considering busking as an alternative to starving on the capital’s streets before being added at the last minute to tonight’s Club Uncut bill at the Borderline.
Continued...
I’m sympathetic to their current circumstances and being left on their uppers by the cancellation of the Hold Steady tour and the exposure it would have brought them is no joke in anyone’s language. At the same time, I’m wholly glad they’re here tonight, because what their opening set, a frantic 30 minutes or so, packed from floor to ceiling with moments of startling rapture and abandoned mayhem, is as good as anything I’ve seen all year.
You may have read in reviews of their debut album, Wagonwheel Blues, that WOD’s music occupies an interface between the classic American songwriting of Dylan, Springsteen and Tom Petty and the sonic adventures of The Velvet Underground, say, or My Bloody Valentine.
It’s a notion you may briefly have entertained and them dismissed without hearing the album as surely fanciful. The thing is, the description – especially when you hear them live – isn’t at all far-fetched, begins in fact to feel like it actually undersells a lot of the amazing things they get up to and the fearsome noise of which they are capable, breathtakingly exciting aural landscapes wrought from nothing more apparently than a Rickenbacker, a drummer with the dynamic whack of the young Mitch Mitchell, an acoustic guitar and what looks like an array of wired-up kitchen utensils one of the band must have found at the back of someone’s garage.
They’ve just started “Arms Like Boulders”, which also opens Wagonwheel Blues, when I arrive hot-foot from Pete Molinari’s Uncut promotion at Borders and they are already in full flight, Adam Granduciel, looking beneath a tangle of hair uncannily at times like lost West Coast singer-songwriter Dino Valente, whaling away on a battered acoustic guitar, the band whipping up a firestorm behind him.
You can hear echoes in his voice of Petty, for sure, but the exclamatory phrasing, daring and acute, is more noticeably reminiscent of a Dylan just gone electric and simply buzzing. You can hear Dylan in the following “Taking The Farm”, but here the backing sounds like a demented version of Paul Simon’s “Graceland”, warped, furious, insanely catchy.
As is, you’d have to say, the somewhat more serene drift of “Buenos Aires Beach” they’re playing now, its warm glow an overture to the absolute meltdown of the 10-minute “Show Me The Coast” they play next. Years ago, in Glasgow, I saw Dylan play a version of “Masters Of War”, whose arrangement that night seemed inspired by the Velvet Underground’s “Black Angel’s Death Song”. Tonight, War On Drugs give us a hint of what it might have sounded like if Bob had appeared on “Sister Ray”, whose relentless annihilation is fearsomely replicated.
They end with an equally fierce version of “A Needle In Your Eye #16”, which Granduciel reminds the audience appeared on Uncut’s Let It Roll CD that accompanied “issue 152, the one with Liam or Noel Gallagher, the ugly brother, whoever he is” on the cover.
War On Drugs have been so good that what follows has an almost inevitable air of anti-climax.
The Dudes are loud and rocky, two of them sport unfashionable moustaches and severe haircuts and a third is wearing an AC/DC T-shirt. I’d been expecting some bar band rumble, but they turn out, surprisingly, to be more Queen than Crazy Horse. On one number with a typically big chorus, they even attempt a kind of “Radio Ga Ga” clap-along.
Vancouver’s Ladyhawk are louder and hairier, their between-song banter makes them sound like characters from South Park and with names like Duffy Driediger, Darcy Hancock and Sean Hawryluk, they would not be out of place among Thomas Pynchon’s intrepid Chums Of Chance in Against The Day.
alan jones, Editor of UNCUT magazine
Wednesday, September 17, 2008
Subscribe to:
Posts (Atom)
