The Drowning Men at Terminal 5, NYC

This isn’t a show review. Not exactly. It’s a story of heartfelt commitment to one’s craft, to strength and perseverance, and to the bonds of friendship. And by “friendship,” I don’t mean posting something witty on someone’s facebook page, but coming to their rescue in the middle of the night on some desolate highway after a hellish traffic accident, packing their gear into your trailer and managing to cram 19 people onto a tour bus.

The glamorous life of a touring musician? I personally can’t imagine any sort of restful sleep in a moving vehicle, no matter how exhausted you are and however luxurious the ride. Nor does travel to exotic lands mean you actually get to see anything outside of airports, hotels, roadside restaurants and bars, the venues themselves, and the odd radio station or two, if there’s a promotional stop to make during the day. It seems like there must be an awful lot of time spent on logistics; just the daily mechanics of getting from place to place. Travel time, finding some place to eat, moving and setting up equipment, soundchecks, promotional commitments, finding your way around a strange city to procure whatever it is you need along the way. And all that for this brief span of time – 90 minutes, 2 hours tops – of actual performance, which is why one does this in the first place, but which can be filled with unknowns. What will the venue be like? What will the audience be like? Will the sound be good? Will the venue staff be helpful? Will the fans be distracted, expectant, or supportive? Will there be that magic in the air that makes it all worthwhile?

A huge part of what motivates me as a music writer is the level of commitment it takes to embark on the career path of a working musician. Just to believe in oneself and one’s music enough to be able to freely share it with others, especially when this involves getting up on a stage to perform… is completely mind-blowing to me. Add to that the effort it takes at self-promotion to distinguish yourself and your band from countless others out there doing much the same thing, to get your music heard in this complex and fractured world. When you add national or international touring to the mix, the level of effort and dedication needed to pull that off rises exponentially.

The Airborne Toxic Event at the Orpheum Theatre, Boston

I first learned of The Drowning Men when they supported The Airborne Toxic Event on their mini East Coast tour last summer. I especially enjoy bands that have a little more going on than just straightforward rock ‘n’ roll, and these guys have a lot more going on – folk, dark-tinged Americana, sea shanties, pirate chants, Eastern European influences, and fer god’s sake, a theramin! This melding of styles gives them a unique and interesting sound. They’re warm, personable guys as well, which comes out strongly in their music and live performance.

Having released a debut EP and album since first forming in 2006, with a few supporting tours under their belt, The Drowning Men are still in their ‘up-and-coming’ stage, driving cross-country in a van, lugging their trailer full of gear as they travel from town to town, much the same as Airborne was doing a few short years ago. Those late night load-outs and long drives to the next tour stop must be among the least glamorous aspects of this job. Even if you’re not the driver, how much does one really sleep sitting in a packed van? So imagine yourself after a long night at a club, making your way down the highway when, all of a sudden, you’re hit by some careening drunk driver. This is exactly what happened to the Drowning Men on their way from New York to Boston, somewhere in Connecticut, in the dead of night.

This is where the story of friendship, and of bonds formed while on the road, comes in. Stranded on I-95 with their van and trailer totaled from the accident (but thankfully, with no one hurt), a call was made to Airborne’s tour manager Bill, as they were also on the road headed up to Boston for the show that night. At about 5am, they were picked up, band members and gear loaded into Airborne’s bus and trailer, to continue the trip. If this were any random headlining band and their support act, I suppose they would have had to cancel, or find other transportation somehow. But these two bands had become not just friends while touring together, but family. In an industry full of competition and oversized egos, there was none of any of that bullshit on that stretch of I-95 that night.

What can I say about Airborne Tox – the band, their management and crew – without coming across as gushing and sentimental? This is the only band I’ve followed since fairly early on in their career, and with how open and honest they’ve been in sharing this crazy journey with their fans, I’ve come to appreciate not only their skill as musicians, but their warmth and compassion as people. Unfailing generosity toward their fans, name-dropping fellow Eastside L.A. bands from very early on when most bands are only interested in promoting themselves, and ego-less concern for their touring partners.

Nato Bardeen of the Drowning Men says this far more eloquently (and succinctly) than I can. Enjoy the video of their wonderful song “Rita,” performed with their good friends in front of an ecstatic audience at the Orpheum Theatre last Saturday night.

The Airborne Toxic Event with The Drowning Men and Mona
in New York & Boston

Photos

New York, Terminal 5, November 18, 2011
Boston, Orpheum Theatre, November 19, 2011

Video

New York, Terminal 5: Half Of Something Else | A Letter To Georgia | All For A Woman | Wishing Well | Something New | Does This Mean You’re Moving On? | All I Ever Wanted | The Graveyard Near The House

Boston, Orpheum Theatre: Drowning Men (two songs) | A Letter To Georgia | The Book Of Love | Wishing Well | Something New / Does This Mean You’re Moving On? | The Graveyard Near The House

Behold, Mikel Jollett’s Iggy Pop Moment with a then clueless Boston audience waiting for Franz Ferdinand at WFNX’s ‘Miracle on Tremont Street’ holiday concert back in December 2008. I’m assuming the reaction will be a little different when The Airborne Toxic Event takes to the stage of the Orpheum Theatre as headliners tonight.

A limited number of tickets are (I believe) still available at the door. Let’s sell this out! | Miracle on Tremont Street 2008 review

(from their last visit in May, at the House of Blues):

This hot and hazy summer marks The Airborne Toxic Event’s five-year anniversary of their existence, and this coming Saturday marks the third-year anniversary of my first time seeing them. Though I’ll actually be at the Newport Folk Festival this weekend, covering this legendary event for Ryan’s Smashing Life, my band has very thoughtfully put together a string of East Coast dates, so we can properly celebrate. What’s more, they’ve just announced a big autumn tour (Orpheum Theatre, Sat 11/19!) that will see them visiting many places, including – for their first time – Anchorage, Alaska. I mean, how could you not want to see them in a place called Bear Tooth Theatre?

Autumn Tour (selected dates)
09/01 Anchorage, AK ~ Bear Tooth Theatre
09/18 Austin, TX ~ Austin City Limits Festival
10/14 New Orleans, LA ~ Howlin Wolf
10/16 Pensacola, FL ~ DeLuna Fest
10/21 San Francisco, CA ~ The Fillmore
10/23 Los Angeles, CA ~ Gibson Amphitheatre ~ LA Weekly Presents LA 101

(10/26-11/7 Germany, Netherlands, Belgium, UK, Ireland, Scotland)
(11/09-12/07 U.S., Canada)

11/18 New York, NY ~ Terminal 5
11/19 Boston, MA ~ Orpheum Theatre
11/20 Philadelphia, PA ~ Electric Factory

See their full schedule, BUY TICKETS, and keep up with future news and gigs at their official site. They also have a facebook page, and you can follow them on twitter.

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A Cultural Experience: The Airborne Toxic Event in Boston
(Museum of Fine Arts, House of Blues – May 11, 2011)

High culture and rowdy rock ‘n’ roll: The Airborne Toxic Event’s last visit to Boston.

This was the inaugural “Acoustic Session” at the Museum of Fine Arts, co-sponsored by the MFA and WFNX, with 50 lucky contest winners being treated to a beautiful 6-song set performed amongst religious paintings from the 16th and 17th centuries in one of their elegant galleries. It was a dramatic backdrop with phenomenal acoustics. The band joked about playing in such close proximity to priceless works of art (and I warily eyed the end of Anna’s bow), but it was the perfect setting.

A serene and regal afternoon at the MFA gave way to a full-on extravaganza at a sold out House of Blues for 2400 adoring fans, happy to see Airborne back in their adopted home. It was a special evening that had the vibe of a family reunion, with an onstage marriage proposal and the return of a dearly departed spirit – a heartfelt tribute to Boston legend and Airborne superfan Billy Ruane.

Fellow L.A. Eastsiders Voxhaul Broadcast put out a strong set, with lead singer/guitarist David Dennis a kinetic, whirling dervish. The highlight was most definitely “Loose Change” a crazed space jam from their latest album, Timing Is Everything. They managed to win over an audience virtually unfamiliar with them, even with the restless anticipation of the headliners.

Airborne last played Boston back in September (along with the Calder Quartet at the Somerville Theatre), though by the crowd’s reaction, it seemed like it had been a decade. Their two-hour set was, pardon the pun, a work of art. Beginning with “Numb”, a song from the new album ‘All At Once’ about the rigors of the road, it led into a wonderful selection of their quieter, more emotional ballads, both old and new. The Magnetic Fields’ “Book Of Love” was dedicated to Mikel’s grandparents. “Days of Wine and Poses”, performed in memory of Mr. Ruane (it was his favorite Airborne song), was a special treat, as it’s rarely performed.

“Happiness is Overrated” ushered in the more rambunctious portion of the evening; “Gasoline” was Mikel’s first (and not last) foray into the audience thicket, creating happy chaos. “Something New” was better still, with him running up to the balcony with a cordless mic, attempting an up-close performance for everyone in the room. The band played so beautifully, interacting with that special symbiosis that comes from a multitude of live shows. It’s great to hear more prominent backing vocals from Anna Bulbrook (who has a beautiful voice that perfectly complements Mikel’s) and some serious jazz bass jams from Noah (especially at the start of “Gasoline”), who also brought his upright along for some classical interludes with Anna’s viola.

Their arrangements for the new songs are more layered and complex, nowhere more evident than with “The Kids Are Ready To Die” elegantly transitioning into “Welcome To Your Wedding Day”. Powerful. As an answer to Europeans thinking “Kids” was anti-American, Mikel responded with “We’re not anti-American; we’re just anti- government sending kids to die for somebody’s fucking lie.”

The set design this time out is simple and sophisticated, with a dash of whimsy – a dramatic back curtain and 6 upside-down umbrellas that are illuminated, holding colors like cosmic goblets. Their “literary keyboard stand” (made up of books) is a nice touch for a band that named themselves after a chapter in a DeLillo novel.

Slowly building from quietly romantic into heart-pounding, the concert reached an emotional crescendo with “Sometime Around Midnight” and “Innocence”, breathlessly offered back-to-back, with some eloquent words of appreciation from Mikel to a wildly cheering, enraptured audience – “You know, once you get past all the bullshit of rock ‘n’ roll…all you really want is for someone to hear your song. To know that the songs become part of people’s lives, it just means everything to us.”

A 30-minute encore that became a jumping, celebratory sea of madness closed with the majestic “All At Once,” a reflection of life’s journey encapsulated into a five-minute rock song. It was a perfect evening of fine music with old friends.

Other video: MFA Acoustic Session: All For A Woman | This Losing | The Book Of Love | Papillon/Does This Mean You’re Moving On? | Missy (part one) | Missy (part two)

The Mercury Lounge

It is an odd paradox. The Airborne Toxic Event’s audience is getting larger, the hardcore fans more rabid, so many are now singing their praises; and yet, people seem to be actually hearing them less.

At the tiny Pianos on NYC’s Lower East Side last Monday night, Mikel tried to joke about the situation – “Oh, I see the bar’s open… well, it wouldn’t be an Airborne show..”, but it had to suck for them. Eight days in to a 15-day-straight run of shows before a single day off, they were all visibly exhausted, and Mikel had observed a 24-hour “vocal silence” of no talking before the show, in order to preserve his voice. The setlist was drastically altered in favor of quieter ballads instead of vocal chord-straining all-out rockers, and that – along with sweet, sentimental introductions in between every song – should have made this an unusual and very special time for their most loyal fans. There were stories of the early days before Airborne – Mikel’s upstairs neighbor banging on the floor to get him to stop playing, and of previous band members saying “your band’s never going to make it.” Of dragging a broken amp down Ludlow Street, and thanking Pianos for “giving them a shot.” About their first single, “Girls In Their Summer Dresses,” and the tiny label that released it, Square Records. Of all the support they’ve received, the many letters, and the connection with their audience. It should have been an evening of beautiful music and shared experience. Except that the cast of Jersey Shore was in attendance that night.

Pianos, New York City

An inebriated gentleman directly behind me kept yelling out (as in 10 or 12 times), “I love you Mikel!” (who first responded with “I love you too, buddy,” but after about the 8th time, “Yes, I think we’ve established that.” This neanderthal, though professing his love for Mikel, proceeded to sing loudly enough (and out of tune) to nearly drown him out. My quiet requests, desperate pleas, then repeated kicks to the shins, did nothing to stop this. “Please, I came to hear him sing, not you.” “Can’t you tell I don’t care?” Thanks. [Note: I couldn't bear to actually embed this video, but you can see it on YouTube, if you don't believe me...]

So when did Airborne’s fans become a bunch of knuckle-draggers? Has this been a slow and steady transition, one which I am only just now noticing? When Mikel politely asked one guy if he could please be quiet while he tried to speak, he was answered back with “I have one night, dude.” Excuse me? You’ve only going to this one show, so you want to be as noisy as possible so you can’t hear the band (this part I just don’t get at all), and screw all the rest of us? Hey, I drove down from Boston for this show, dude. One fan flew in from Germany, dude. I hate to break it to you, dude, but it isn’t just about you. And what about the band? Maybe a little respect is in order for a hard-working group of people who are here tonight 3,000 miles from home, sharing with you some quality songwriting and sophisticated musicianship in a living room-sized Lower East Side club. [Note to Pianos: This was was my first time in your legendary indie rock band incubator, and man, is it ever awesome. I'll be back!]

An interesting thing is happening, and for all the annoyance of anticipating these two shows for months, then being confronted with this lack of respect (the crowd at the Mercury Lounge was a little better), I leave this experience with my already soaring admiration for this band about 10,000 times greater. Because despite the blind and deaf mob (not all of course, but enough to set the tone in a small room, and that crass album cover could not be more appropriate), the band is becoming more serious. Way more serious. Serious about their music, their message, and especially their commitment to each other. In an unguarded moment after the show, Anna spoke of her admiration for Mikel, how he “puts himself on the line” – not just in the physical sense of being the band’s front man, but emotionally, as the words he sings are of such a personal nature; a window into his soul. Well, that last bit is mine, and I’m paraphrasing here, but she went on to say how it’s a good thing he decided to put together a band, so he didn’t have to be “out there” on his own as a solo artist; that the others could be there for him and support him. I knew they all felt that way, it’s obvious in every interview and in the way they play together, but to hear it expressed like that was deeply moving. That’s the great thing about being so damned weary – people will say the most extraordinary things.

I’m reminded of Mikel’s early description of the band’s camaraderie as “a group of siblings stranded on a desert island”. This is even more true now, as the water rises, more treacherous and perilous, with outside pressures that could threaten even the strongest spirit, clearest vision, and greatest resolve. People’s misinterpretations of what the band represents, what they’re about, the strange “projections” that come from widespread radio airplay and increasing success. Yes, bands are broken up because of drugs and crazy lifestyles, but also because of growing egos stoked by gushing adulation and hollow promises; a lost sense of direction. True success happens on one’s own terms; not to buy in to all the bullshit is the greatest challenge.

Daren, at the Mercury Lounge

The Mercury Lounge was also no happy hippie fest, but for entirely different reasons. For one, no one told me it was hardcore punk night. This might seem like a curious choice for Airborne’s support act – except that Noah’s cousin is the lead guitarist. What’s even more interesting, I recall that when they played the Fillmore West in San Francisco back… well, back when, “Noah’s cousin’s punk band” supported them. And now I find out – it was a different cousin, and a different punk band! (must be something in the genes?). In any case, when the lead singer of State of Decline lounged out on the stage – mohawk and tattoos, eating his dinner before their set, with a young drunken blond promptly hitting on him – I knew it was going to be an interesting evening.

(actual overhead conversation): “What band are you in?… so where’s the afterparty?” | “Do you have any coke? That would make me very happy” | (she leans over and kisses him) | “I can see down your shirt” (she doesn’t seem to mind)

State of Decline were… ok. Crazy antics from the lead singer, with people at the front cautiously keeping their distance as he swung his mic stand inches from their heads. There was a kind of “sameness” to all the songs; nothing terribly distinguishing. Noah’s cousin (I’d provide a name, but I can’t find more than a mention of this band online) did a few songs on his own at the start. A vocalist he’s not. But he’s a decent guitarist, and the songs were such that.. well, from what I could make out, I’d say there’s some potential, but he’d be better off going it alone or with a different band. Sorry guys, just my humble opinion. It was all cool, though, I managed not to get whacked with that mic stand, and it was actually quite a bit of fun. What wasn’t cool was when a friend of theirs, this skinny junkie with bleached out white hair, decided he would climb up on stage and lunge off, hurling himself into the front few “rows”. I have nothing whatsoever against crowd surfing, but there are nights to do this, and nights not to. This really wasn’t that sort of crowd, nor were any of them expecting it, so those who had fast reflexes stepped back quickly, leaving him to land hard on the concrete floor, taking out a few unfortunate folks with him.

Noah's cousin, doing a solo set

State of Decline, in a rare quiet moment when I wasn't afraid my camera would get broken.

After a broken mic stand, food spilled all over the front monitors, and an audience shaking their heads, thinking “what the fuck??”, Airborne took to the stage and ripped through a considerably more rocking set than the night before. Mikel’s voice seemed stronger, the band more energetic, and they hit the ground running with “Papillon”, and wailed through a marvelous version of “The Kids Are Ready To Die” (the punk version, of course), leading gorgeously into “Welcome To Your Wedding Day”. A nice mix of old and new, fast and furious, changing things up completely from the low-key evening at Pianos. “Innocence” finished off the main set, sounding just wonderful, and with less interruption during the exquisite intro than what I was expecting. There was again a surprising element in the crowd, nowhere near as obnoxious as the night before, but still not what I remember of Airborne Tox fans as recent as last year.

For an encore, they launched into “Does This Mean You’re Moving On?”, though Mikel, warily eyeing a few over-exuberant girls in the front who immediately started grabbing at his legs as soon as he came to the edge of the stage, wisely decided against wading in this time. And despite (or because of) the aforementioned floozy, who was now shrieking for “Missy”, they instead closed the evening with “All At Once”.

Fortunately, it seems the audience improved as the week went on (or at least, the handful of amateur drunks got “absorbed” in larger audiences), which I’m glad to hear for those who were able to see all five NYC shows. It’s a shame though, and perhaps an indication that you can never really go home again. Everything has changed. Viewed from a distance, I suppose it’s just part of the band’s evolution. Some things are lost, some things are gained, life goes on. Bring on the All At Once tour.

Night #1 Tonight: Philadelphia, The Trocadero;
Wednesday, May 11 – Boston, House of Blues – tix still available.

Other Videos
Pianos: Wishing Well | It Doesn’t Mean A Thing | The Book Of Love | Gasoline/Does This Mean You’re Moving On?
Mercury Lounge: Wishing Well | Does This Mean You’re Moving On?

The Airborne Toxic Event: All At Once – Out Today!
See the band live at the House of Blues, Wednesday, May 11 – buy tickets
~ For the abridged version of this article, please see Ryan’s Smashing Life ~

Growing Pains

My god, this is excruciating! I’ve been enjoying The Airborne Toxic Event since first listening to demo tracks in 2008, and followed their steady ascent, which for me began at a downtown Boston Irish bar for about 150 people. They released their wonderful debut album on Majordomo, and proceeded to tour for the next 2-1/2 years in support of it. That album grabbed hold of my ears and wouldn’t let go, yet I now find myself approaching their follow-up, nearly three years later, with a curious mix of anticipation and trepidation. Why? Because in that time, they signed with Island Records, amassed a large audience of “casual listeners” with their radio hit, “Sometime Around Midnight,” and spent 2010 in a fancy Hollywood studio with world-renown producer Dave Sardi (Band of Horses, The Walkmen, Oasis). It made me a little nervous. This is the first time I stumbled upon a band early on, and not 10 years after everyone else, so I’m new to this whole “grappling with success” thing. I’m not sure how the band is coping, but as for myself, not terribly well.

Perceptions

Airborne Tox, for some reason, has managed to divide opinion into two polar opposite camps: worshiping followers, and poisonous venom spewers. At the center of this maelstrom is one extremely talented and ridiculously hard-working group of people making what I consider some damn compelling music. A number of people have gotten something stuck in their teeth about this band that they can’t get out. Perhaps they’re disturbed by Airborne’s success story, believing it all came too easily. After a year in a friend’s home studio crafting their debut, 350 gigs to promote it, and then straight into another year recording this one, the band might beg to differ. The major label involvement, heavy radio airplay, and an army of mainstream fans may be off-putting. Or they’re uncomfortable with the unapologetic sentimentality and romanticism of the band’s lead singer and songwriter, Mikel Jollett, who once said that a writer can’t be concerned with how they look while baring their soul to tell a story. Whatever it is, a quick glance at what they’ve been doing lately should convince any doubters that this band is the real thing.

Airborne 2.0

There’s been some remarkable growth for these guys. Everyone’s musical proficiency and performance skill has improved 1,000 times over, not just how well they play together, but individually. Mikel has become a better songwriter – lyrically, and with melody and construction. Musical arrangements are far more complex and intricate. This is a band that obviously spends a lot of time crafting a song, and it shows. All I can hope for as a fan is that they stay true to their core principles throughout this mad journey, and that they can maintain their identity in the raging sea of mediocrity that surrounds them.

Inside All At Once

This is one serious second album. The band spent a year writing, arranging and recording; learning about songwriting techniques and big studio production from Dave Sardi, and whittling down 50 songs to eleven. Heady times, with heady themes to match. The sound is huge and dense as a thicket, and while their first album had playful and jovial moments, this one rarely does. The quieter ballads have a sad, wistful quality; the upbeat pop tunes, a distinct edginess. It’s not easy listening, but it’s deeply rewarding if you spend some time with it. One thing which first struck me was how well music and melody fits the lyrics, each giving something back to the other. Airborne also reinforces their standing as a “genre-free” band, with different moods and treatments for each song’s personality.

The first album had themes of alienation, though it mostly dealt with the aftermath of a bad break-up. On this one, it’s still very much a personal story, yet it reaches beyond the emotions of the storyteller, touching upon such topics as life and death, love and war, and how sudden change alters our lives and affects our world view. For Mikel, it came through the loss of four family members in a few years’ time, and grappling with the joys and horrors of a new life on the road. Interspersed are thoughts about soldiers and the hypocrisies and travesties of war (“The Kids Are Ready To Die,” “Welcome To Your Wedding Day”), youthful innocence and a questioning of faith (“It Doesn’t Mean A Thing”), and a sentimental love song (“The Graveyard Near The House”). There are thoughts of that lost relationship, yet this time it’s viewed from an insightful distance (“All For A Woman”). Bringing to life this dizzying array of stories and emotions is an arsenal of melodic hooks and furiously driving rhythm, classical string arrangements and synth lines, and ethereal viola and vocal accompaniment from Anna Bulbrook. A hell of a lot for one album.

They stretch the boundaries of dynamic range, both in sound and message. There are huge, epic productions for “All At Once” and “Welcome To Your Wedding Day,” but also quieter, more intimate moments for “All For A Woman,” “Strange Girl,” and “The Graveyard Near The House.”

From the beginning, you know that All At Once is going to be a major departure from what you thought you knew about this band. The title track is an epic masterpiece about the stages of life, from birth to death, and sudden, perception-altering change. The song is enormous in scope, in its message and execution, and features the Calder Quartet, who are also on “All For A Woman” and “All I Ever Wanted” (“Then we long to be loved, in the rush we become some things we thought we’d never be. / We were surprised by our heart, left wary and scarred, from the nights spent feeling incomplete. / And all those evenings swearing at the sky, wishing for more time.”).

“All For A Woman” is an unabashedly romantic ballad which slowly builds into a heart-swelling, soaring eagle of a song as Mikel contemplates “the muse that inspired the art” (“It was all, it was all, for the look in her eyes / for the promise, and the lie, of a woman.”).

“It Doesn’t Mean a Thing” is a sweet, heartfelt rockabilly-folk tune for Mikel’s hippie parents, in their youthful innocence, trying to understand life’s mysteries and injustices. – “it was a loneliness they would confess, like the world had gone bad I guess, so they’d hold hands, look into the eyes of God / they’d say, ‘tell me why’d you hide from us, why’d you fill this world with wickedness, why’d you spare us from your grace but not the rod?’”

In “The Kids Are Ready To Die,” Mikel examines the making of a soldier, how society exploits a young person’s pent-up anger and restlessness for the purpose of warfare, turning inner rage outward, and addresses the repercussions – “But the day will come when it falls like a cheap house of plastic / and the cards that were dealt will be tossed like a storm in the sky / ‘cause you can only lie for so long before you get something drastic / and the kids are lined up on the wall, and they’re ready to die.” This song, slowed down from its original fast-paced punk tempo to a somber funeral dirge, carries enormous gravitas.

Confrontational and explosive, “Welcome To Your Wedding Day” has an exotic feel with a punk rock aesthetic strongly reminiscent of The Clash. It recalls the news story of a predator drone accidentally hitting an Afghan wedding, and points out the hypocrisy of U.S. words and actions, combining a Middle Eastern melody with a war march of American aggression and bravado – “It’s another fine day of nation building / Let’s have a parade / You can dance on the graves and the bones of the children / If you know what to say.”

“All I Ever Wanted” (with the Calder Quartet) reprises their beautiful arrangement of this lovely song, first heard at their 2009 Disney Hall performance, in all its orchestral, sweeping grandeur.

For all the chaotic fury that begins All At Once, the album closes with the quiet fragility of “The Graveyard Near the House,” about sharing one’s life and growing old with someone, fears of loss, commitment, and disconnection (“And it left me to wonder if people ever know each other, or just stumble around like strangers in the dark. ‘Cause sometimes you seem so strange to me, I must seem strange to you. We’re like two actors playing our parts.”). A perfect marriage of music and lyrics, it features Mikel on acoustic guitar and soft vocals, with Anna’s beautiful harmony, a simple piano melody and viola adding an emotional layer at the end. It’s a beautiful close to an amazing achievement.

Daren, Mikel & Noah at the House of Blues, Boston, October 13, 2009

My key criticism of this album is with the production. The trick, now that they have access to a professional studio and a full array of technology, is to know when not to use it. That cavernous big studio sound and liberal use of reverb gives the music an austere feel, and makes the band sound like they’re a great distance away. Sonically, it’s like being at the back of a giant hall, and perhaps it’s to prepare us purists for that very experience, though it’s not one I look forward to. Their performance is passionate; the music is 1,000 times more powerful. But as a fan, I no longer feel like they’re playing in my living room, and that saddens me. The addition of synthesizers gives the album a distinctly ‘80s feel, and while I’m a fan of those days, it contributes to the austerity. Everything seems a little too perfect, too polished. Playing so much in the past three years, I expect them to sound tight and accomplished, but this is different. For stark contrast, check out their “Bombastic Series” – acoustic, one-shot, one take video clips for each song.

Marketing the Music

For better or for worse, the band is being marketed to a more mainstream audience now. “Changing” and “Numb,” U.S. and UK singles respectively, are very radio-friendly and far more commercial-sounding than anything else on the album. Even the production on the new album is designed to give them a bigger sound, which seems to further ambitions toward stadium-sized success. It’s ironic, then, that the two major rock publications, Rolling Stone and NME, both quickly dismissed the new album, and that the most thoughtful review so far is from fellow blogger Drowned in Sound. Sophisticated songwriting, complex arrangements and weighty subject matter does not make for an easy ride. It’s the sort of music that requires something of the listener beyond passive reception, and not everyone cares to make that commitment. It remains to be seen if mainstream music fans are up to the challenge (I hope they are).

About that album cover…

However delighted I am with the music, I am definitely not a fan of the album’s artwork. When it was used as the backdrop for their second headlining tour in 2009, I found the image crass and disturbing – and even more so now. That may well be the intention. Is it merely an acknowledgment of the band’s increasing popularity, or an editorial comment that fame comes at a price? The audience members are nameless and faceless in their large number, blocked out eyes concealing individual identities. But I also see those blocked eyes as blindfolds, and indeed many of those turning up at the shows, even back in 2009, were doing so on the strength of that one radio hit, unfamiliar with the band’s deeper material (that is to say, everything else on the album), and even less interested in newer songs that were finding their way onto set lists. They showed that disinterest in the form of mindless chatter during quieter, lesser-known songs and general inattentiveness. It’s great to be selling out 2,000 capacity venues, but maybe even nicer to have a few hundred people in a small room with undivided attention, singing along to every song as if they themselves wrote it.

The Future

So here I am now, faced with the prospect that my beloved little indie band who could do no wrong is now involved in an increasing number of mainstream trappings, and I must look past all that to focus on the music, and only the music. Never mind slickly-produced videos (“Changing”), appearances on godawful tv shows (“The Daily Habit”), mainstream music fans and “alternative radio” naming them alongside bland manufactured bands, and ill-advised marketing decisions that currently have hardcore fans grumbling about having to buy multiple copies of the new album for various bonus tracks poked individually into each configuration like Easter eggs. I’m preparing myself for their foray into ‘herd-em-in-like-sheep’ stadium shows, and anything else that puts distance between me and my favorite band.

If this were anyone other than Airborne, I might have already bolted. But there’s the music, you see. Those painstakingly crafted little gems that take my breath away with artistically woven melody and poetry. Individually and together, this band has developed over the past few years in a beautiful way. From Daren Taylor’s heart-pounding percussion that drives the music and perfectly punctuates every phrase and nuance, to Noah Harmon’s jazz bass groove, picking up a bow to become half of the band’s makeshift string section. There’s Steven Chen’s minimalist lead guitar heroics, with each melodic line and flourish lingering in the air, and the stunning fragile beauty of Anna Bulbrook’s viola, equally comfortable romping through a Johnny Cash cover. Anna’s ethereal backing vocals as the perfect counterpoint to Mikel Jollett’s moody baritone, and Mikel’s poetic storytelling, touchingly romantic and sentimental or angst-ridden and acerbic, with raw honesty that is unapologetic. This ragtag gathering of sensibilities and styles combine in a symbiotic way to create sonic magic and cathartic release, elevating their live performances into special events. For all that, I’ll gladly drink the kool-aid.

The Details

All At Once (Island) – release date: Tuesday, April 26, 2011
Deluxe version, with official videos for “Numb” and “Changing” and Bombastic Series (11 acoustic videos of each song) – Amazon

The Vinyl Collection Box Set (Debut album (1 disc), All I Ever Wanted: Live From Walt Disney Concert Hall (2 discs), All At Once (1 disc)) – Remastered on 180 Gram Audiophile Vinyl; limited edition, numbered & signed by the band – available from their online store

Video commentary about the album (on Amazon)

The Tour

4/29 Los Angeles, CA – John Anson Ford Amphitheatre
   (4/25-28 Los Angeles shows sold out)
4/30 EdgeFest, Frisco, Texas
5/1 BuzzFest, Houston, Texas
5/6 New York City, NY – Town Hall
   (5/2-5/5 NYC shows sold out)
5/8 Washington, DC – 9:30 Club
5/9 Philadelphia, PA – The Trocadero (5/7 show sold out)
5/11 Boston, MA – House of Blues
5/12 Montreal, Quebec – La Tulipe
5/13 Toronto, Ontario (sold out)
5/14 Cleveland, OH – House of Blues
5/15 Columbus, OH – Newport Music Hall
5/17 Minneapolis, MN – The Varsity Theater
5/19 Chicago, IL – Metro (5/18 show sold out)
5/20 Kansas City, MO – The Beaumont Club
5/22 Austin, TX – La Zona Rosa
5/24 Atlanta, GA – Variety Playhouse
5/26 Fort Lauderdale, FL – Culture Room
5/27 Orlando, FL – The Social
6/1 Salt Lake City, UT – Club Sound
6/2 Denver, CO – Ogden Theatre
6/5 Mountain View, CA – Shoreline Amphitheatre
6/7 Vancouver, BC – Commodore Ballroom
6/8 Seattle, WA – Showbox SODO
6/9 Portland, OR – Crystal Ballroom
6/11 San Diego, CA – House of Blues (sold out)
6/12 Las Vegas, NV – House of Blues
6/13 Chandler, AZ – Ovations Theatre @ Wild Horse
6/15 Reno, NV – Knitting Factory
6/16 Sacramento, CA – Ace of Spades

official site (where you can also listen to the album) | facebook | twitter

Let’s put it this way: I have concerns (though nowhere near the concern I have for “what do I do if my house starts shaking?”).

And it starts… with Daren and Steven riding in a vintage car, turning off “Sometime Around Midnight” as it comes on the radio, and exchanging looks of smug derision. Are they already that jaded? Mick Jagger once said, “If I’m still singing ‘Satisfaction’ when I’m 40, I’ll kill myself”. But that was in 1972, a full 10 years and a dozen albums after the Rolling Stones first formed. For Airborne to turn their noses up (even in jest) at the song that helped catapult them to worldwide album sales of 300k+ and sold out shows while they’re still a band with just one album out seems… a bit premature. For a lot of fans, that song meant (and still means) a great deal. For better or for worse, it’s why a lot of them are fans.

The video is slick, like – as another blogger pointed out – an alcohol or men’s cologne ad. There’s a self-congratulatory feel to it – back-slapping, handshaking revelry in a bar room party scene that feels strangely out of place with the lyrical content of the song. It’s a generic mainstream rock backdrop for an indie-pop ode to a dysfunctional relationship. A drunken-celebratory tone set against Mikel’s angsty personal introspection. In an interview about the making of the video, Mikel agrees that it “reinterprets the song in a new way”. Well, that’s fine, but is that what you want for a promotional video for your first single off the new album? Kevin Bronson of Buzz Bands addresses (rips into) the video’s imagery, and what follows are comments from people who come off like betrayed lovers. Mouse of Classical Geek Theatre has a more moderate (though equally perplexed) view – and a really sweet photo.

I had said some time ago that I believe the band is the same, but that the scene around them is changing. What I mean is: they’re still talented musicians, Mikel’s lyrics are still poetic (more so, in fact), they still have tremendous chemistry together and they craft beautiful, infectious songs. But now there are more people involved, they’re on a major label, working with a famous producer at a fancy studio. Under such circumstances, with people whom you’ve just met telling you what to play and how to play it, grabbing on to your successful band like parasites to the body of a whale, one must take great pains to ensure that the music – and your vision – doesn’t get lost in the shuffle. Mikel once said that he didn’t expect to be able to control everything. I’m thinking he might want to control some things.

My take is that this was seen as a marketing opportunity – a new demographic for the band, and a new demographic for Strikers All-Stars. Fair enough. Though I don’t think either is well-served by this. They’re terrific dancers, no denying that. But if I were their choreographer, I’m not so sure I’d choose “Changing” as the proper music to highlight their talents. Nor does this song need step dancers, drunken revelers, an arm-wrestling match and a girl putting on lipstick (huh?) to get its point across. So what? It’s just a music video. But it’s indicative of new people with input into creative decisions, other than just the band and their manager. And it’s at a crucial time when a lot of people are watching, just ahead of a long-awaited follow-up to their debut. People are standing there, arms folded, waiting to see what they’ll do next. I want to see them as mega-stars. I want to hear their music in movies and in ads. I want to know when in hell we’re going to see a decent feature in Rolling Stone. I just don’t want to see them compromise their integrity to get there.

Having said all that (and as proof that all is most certainly not lost), they’ve also been releasing some absolutely gorgeous acoustic one-take, one-shot videos of songs from the new album. The latest of which is a beautiful tribute Mikel wrote for his parents, lovingly performed as a folksy ballad:

Why on earth can’t something like this be the official video and aired on MTV, VH1 or wherever it needs to be? This is how I see the band – sweet, funny, smart, talented, with music that’s deeply personal and a cut above pretty much everything else out there. So what if it’s not slickly produced with fast edits? What if it has no edits at all? Who the f*ck cares? Is the mainstream rock audience such a docile bunch of sheep that they can’t process something that doesn’t look like a Budwiser ad? (no wait, don’t answer that). This “Bombastic Series” is directed by Jon Danovic, the same man responsible for “Changing”, and also for the beautifully filmed Disney Hall performance. He’s obviously supremely capable of doing anything you want him to do.

So that’s my long-winded opinion of the “Changing” video. And I anxiously await the new album. Not with folded arms, mind you, but with arms outstretched.

After a week of hellish transition from night worker to day, I’m finally back amongst the living, ready to enjoy life’s simple pleasures – dinners not in front of a computer screen, the occasional evening out to see a band, and the novelty of actually sleeping when it’s dark out. Meanwhile, The Airborne Toxic Event have been in a whirlwind of their own, revving up to introduce the world to their new album, All At Once.

Since first hearing Airborne’s music in January ‘08, it’s been fascinating, exciting, humorous, and at times a little harrowing to follow their steady ascent from indie band lugging their own equipment into small clubs to international artists on a major label, 300,000+ sales of their debut album, and multitudes of fans crashing their site in a desperate clamor for presale tickets (theairbornetoxicevent.com is down for the weekend as it gets moved to a larger server).

There’s all sorts of cool stuff going on. The Origins Tour will see them playing 5-night marathon residencies in London, L.A. and NYC, starting from the smallest venue played in that city steadily moving to the largest, with a “secret show” for those who purchased season passes to all four [sorry, those special passes are all gone, but you can still get tix for select individual shows.]. Then there’s the new album, All At Once, with an April 18 release in the UK and Europe, April 26 in the U.S. The Bombastic video series – acoustic versions of all 11 songs from the album – are being released once a week leading up to the release date, and will be included in a special deluxe CD/DVD version of the album (along with the official videos for “Changing” and “Numb”). To top it all off, they’ve embarked on an eclectic and ambitious “Song Of The Day” series for the entire year on the band’s twitter, courtesy of Mikel. Anna, not to be outdone, has started her own “Book of the Week”. Awesome. That should keep everyone busy for a little while.

All At Once

UK/European release: April 18
U.S. release: April 26

Pre-order from band’s site

track listing
1. All At Once
2. Numb
3. Changing
4. All For A Woman
5. It Doesn’t Mean A Thing
6. The Kids Are Ready To Die
7. Welcome To Your Wedding Day
8. Half Of Something Else
9. Strange Girl
10. All I Ever Wanted
11. The Graveyard Near The House

Produced by Dave Sardy (Oasis, Band of Horses, the Ting Tings, Twisted Wheel) and featuring The Calder Quartet.

Performances

Tickets are still available for the larger shows in L.A. and NYC, plus other cities on the tour. A Ticketmaster presale with digital album bundle is available through Friday, February 25th for certain shows; the general sale begins Saturday, February 26. | Ticketmaster | The band’s presale (some shows still available, pre-order the CD or CD/DVD, avoid Ticketmaster fees).

Europe & UK
April 4-12 (Nottingham, Manchester, Glasgow, Leeds, Dublin, Portsmouth, Rotterdam, Nuremberg) | UK tickets

Origins Tour
April 18-22 London, England (secret show | Dublin Castle (150 c) | Barfly (200 c) | King’s College (500 c) | Koko (1400 c))
April 25-29 Los Angeles, CA (Satellite, formerly Spaceland (260 c) | Troubadour (500 c) | El Rey Theatre (900 c) | The Music Box @ Henry Fonda Theatre (1300 c) | secret show)
May 2-6 New York City, NY (Pianos (140 c) | Mercury Lounge (250 c) | Bowery Ballroom (500 c) | Webster Hall (1400 c) | secret show)
Ticketmaster (presales on now; general sale 2/26) | band’s presale – direct link to store

U.S. Tour
Sat May 7 – Philadelphia, PA – The Trocadero
Sun May 8 – Washington, DC – 9:30 Club
Wed May 11 – Boston, MA – House Of Blues
Thu May 12 – Montreal, QC – La Tulipe
Fri May 13 – Toronto, ONT – Opera House
Sat May 14 – Cleveland, OH – House Of Blues
Sun May 15 – Columbus, OH – Newport Music Hall
Tue May 17 – Minneapolis, MN – The Varsity Theater
Wed May 18 – Chicago, IL – Metro
Fri May 20 – Kansas City, MO – Beaumont
Sun May 22 – Austin, TX – La Zona Rosa
Tue May 24 – Atlanta, GA – Variety Playhouse
Thu May 26 – Fort Lauderdale, FL – Culture Room
Fri May 27 – Orlando, FL – The Social
Wed Jun 1 – Salt Lake City, UT – Club Sound
Thu Jun 2 – Denver, CO – Ogden Theatre
Tue Jun 7 – Vancouver, BC – Venue
Wed Jun 8 – Seattle, WA – The Showbox SODO
Thu Jun 9 – Portland, OR – Wonder Ballroom
Sat Jun 11 – San Diego, CA – House Of Blues
Ticketmaster (presales on now; general sale 2/26) | band’s presale – direct link to store

The Bombastic

A weekly series of one-shot, one-take acoustic versions of every song on the new album, leading up to its release, posted Mondays on various sites to be announced, and Tuesdays on the band’s official site. Week #1 was the title track “All At Once,” which features The Calder Quartet, the Lalo Guerrero Children’s Choir, and music students from the Plaza de la Raza Community Center in East Los Angeles, all of whom performed with Airborne at the Disney Hall Show (and once again directed by Jon Danovic).

Mikel’s Song Of The Day

follow them on Twitter to keep up with the latest news and the latest song suggestions.

Thus far…
“Atlantic City” – Bruce Springsteen | “Two Doves” – Dirty Projectors | “Daughters of the Soho Riots” – The National | “Ek Shaneesh” – Das Racist | “Basic Space” – the xx | “A Whiter Shade of Pale” – Procol Harum | “Love Is All” – The Tallest Man On Earth | “Crown on the Ground” – Sleigh Bells | “Our Riotous Defects – Of Montreal | “Why Can’t I Touch It?” – Buzzcocks | “Anthems For A Seventeen-Year-Old Girl” – Broken Social Scene | “Changing” – The Airborne Toxic Event | “Colorado Girl” – Townes Van Zandt | “Bankrobber” – The Clash | “To Kingdom Come” – Passion Pit | “Walt Whitman’s Niece” – Billy Bragg & Wilco | “North American Scum” – LCD Soundsystem | “Strange Vine” – Delta Spirit | “King of Carrot Flowers” – Neutral Milk Hotel | “Sigh No More – Mumford & Sons | “Boots of Spanish Leather” – Bob Dylan (here’s Joan Baez’s cover – great) | “The Way that he Sings” – My Morning Jacket | “Midnight Train to Georgia” – Gladys Knight & The Pips | “Come on Feel the Illinoise” – Sufjan Stevens | “Heartbeats” – The Knife | “You Oughta Know” – Das Racist | “Next Time Around” – Little Joy | “Shadow People” – Dr. Dog | “Martha” – Tom Waits | “Eraser” – No Age | “Born Slippy” – Underworld | “Two Weeks” – Grizzly Bear | “The Rat” – The Walkmen | “Details of the War” – Clap Your Hands Say Yeah | “3rd Planet” – Modest Mouse…

Anna’s Book Of The Week

An unofficial series, prompted by fan request. Here’s what we have so far…
“The Corrections” by Jonathan Franzen (wikipedia) | “Sixty Stories” by Donald Barthelme (wikipedia)

Where Are They Now?

The band’s currently immersed in their month-long circling European residencies (I question the wisdom of starting each full week of shows in Amsterdam, after a weekend in the city’s cafes, but so far, there’s been no word of casualties). They finish off the month in Holland, Germany, Switzerland and France. If you find yourself in any of these locales, here’s a great chance to catch the band in a small, intimate show!

Mon Feb 21 – Amsterdam, Paradiso
Tue Feb 22 – Berlin – White Trash
Wed Feb 23 – Frankfurt – Das Butt
Thu Feb 24 – Zurich – Hafenkneipe
Fri Feb 25 – Paris – Fleche D’Or
Mon Feb 28 – Amsterdam – Paradiso

Whew! Did I miss anything?

“The song was originally called “Something You Own.” It’s a song about conflict and resolution, resisting and accepting Change.” Read more…

The new album: All at Once (Island Def Jam), to be released on April 25th in Europe and April 26th in North America.

The tour: February residencies and shows in Europe – see full schedule. Additional dates to be announced February 15 on their official site – and I’ll post them here as well.

It’s all about learning to welcome change. Not just adapt, but a full embrace of the process of life and natural changes in our own lives, and in the lives of those we care about. Change is an integral part of living, but we are frightened by it. We cling to emotionally draining relationships and continue to play out time-worn destructive patterns and tape-loop responses. We hesitate to leave dead-end jobs, preferring to stay in our comfortable prisons. It takes an amazing amount of bravery to leave one’s comfort zone for the vast expanse of the unknown. To venture out on that unfamiliar road with a neutral mind, without preconceptions. With a child’s curiosity, let’s see what the rest of this year holds…

On July 30th, 2008, six days before the release of their debut album on Majordomo Records, I saw the Airborne Toxic Event for the first time – upstairs at a downtown Boston Irish bar. It was a crazy radio station event, with guys dressed in bathrobes and cowboy boots, and girls in lingerie (with some strippers hired by the station for added effect). The ’stage’ was the far end of the room, with maybe 150 of us packed into the small space. A year and a half later, here they are at Los Angeles’ Walt Disney Concert Hall, a world-class concert venue, home to the L.A. Philharmonic.

“We’re not an important enough band for a gig like this. We’ve only had one record. Who gives a fuck about a band with one record?” – Mikel Jollett

This show marked the 354th performance in support of that first album. From early television appearances like Carson Daly, Letterman, Conan O’Brian; to touring as support for The Fratellis, and their 30-shows-in-30-nights in the U.K. And at the beginning of last year, their first headlining tour, with stops in mainland Europe and Asia, and many of the world’s largest music festivals – including Slovakia and Korea. During which time their debut album sold over 300,000 copies, which is truly remarkable for a first release recorded at a friend’s house and initially on an indie label. For such a non-stop marathon of constant touring to be capped off with a production like this is astonishing.

The performance at Walt Disney Concert Hall was part of the “West Coast Left Coast” series, highlighting the musical traditional of California. Airborne wanted their contribution to be a celebration of L.A.’s Eastside, where they live and where the band was born and nurtured.

A year in the making, they invited musicians who represented the cultural diversity of the area, including their friends and frequent collaborators the Calder Quartet, a horn section and an accordion player, Plaza de la Raza’s student folklórico dancers (accompanied by the Conjunto XI mariachi ensemble), the Belmont High School Marching Band, and Lalo Guerrero School of Music’s children’s choir. In this, their first ever live concert DVD, they include not only the performance, but a behind-the-scenes documentary of its production. Despite the humorous flurry of last minute preparations with the various performing groups, and the band’s own charming ‘everything can fall apart at any time’ persona, a tremendous amount of planning and hard work went into this one-night-only performance.

“All I Ever Wanted” was produced by Brian Gerard and the band’s manager, Pete Galli; and directed by Jon Danovic. Meticulously crafted, it’s one of the finest concert films I’ve ever seen, with a fascinating behind-the-scenes look at the show’s preparations, including the band working out new arrangements for their songs. But it’s also an intimate portrayal of how they interact and work together, their humor and camaraderie, their group dynamic. Between the documentary itself and the oftentimes hilarious running commentary which is included as a bonus (part educational, part Mystery Science Theater), one gets a very strong sense of Airborne’s unique personality, and the strong contribution each member makes to the whole.

Scenes move between black & white for rehearsals to color for the actual show, woven together in a beautiful way. The film seamlessly glides from preparation to performance, and from emotionally moving and majestic (”Book of Love” with Mikel’s dedication to his grandmother, “Duet” and a touching rehearsal scene with Mikel and Anna, “Missy” accompanied by the girls’ choir) to irreverent and comical (dogs clamoring for attention during band rehearsals, Anna picking out her dress, Steven woefully out of his element as he tries to motivate young marching band players).

At the core of some marvelous musical performances (most remarkable for the youngest participants, who had very little time to rehearse and bring it all together) is Airborne’s musical chemistry with The Calder Quartet. Having performed together on numerous occasions, they’re so comfortable with the songs now and with the band’s style, that they inhabit the music and make it their own, adding little flourishes and a certain amount of improvisation. “Wishing Well,” “Sometime Around Midnight,” and “Innocence” are classic Calder Quartet pieces, but their arrangements on “All I Ever Wanted” and “Goodbye Horses” are stunning. Another revelation was how amazing Airborne’s songs sound “expanded” with additional performers. I usually prefer the stripped down demo to the lavish production, but “Something New” with accordion, “Happiness Is Overrated” with a horn section, and their grand entrance with the Belmont High School Marching Band, roaring into “Does This Mean You’re Moving On?” are phenomenal. The Ramones’ “Do You Remember Rock ‘n’ Roll Radio?” was an inspired choice; every marching band in the world should add that song to their repertoire.

Besides the musical beauty of this show is something I’ve always loved about Airborne, taken to an exponential power on this particular evening: their joy of performance. The fun and excitement they radiate is contagious. Their humble disbelief at being invited to play at such an esteemed concert hall is honest and endearing and makes the experience feel very personal. Mikel has mentioned in interviews how, in pre-Airborne times, he and his Silverlake friends would assemble in his living room and mess around on various instruments, with the evening culminating in a song that everyone would learn. Even in larger, more austere venues (and what could be more daunting for a band than performing at Disney Hall?), they are somehow able to maintain this feeling of intimacy, an informal gathering with a group of friends.

In addition to the band’s commentary, other bonus items include a little more ‘making of’ footage, and a beautiful version of their cover of William Garvey’s “Goodbye Horses,” with some very nice touches from the Calder Quartet.

If all that isn’t enough, the DVD package includes a CD of the show, which is breathtaking in its clarity and sound quality, and must be listened to with headphones to truly appreciate the amazing acoustics of that venue, and how expertly it was recorded, mixed and mastered.

“All I Ever Wanted” is a celebration of The Airborne Toxic Event, who they are and where they come from, their whirlwind first few years from small clubs to grand concert hall, and a personal look at their inner workings and personality. I can’t think of a more perfect introduction to this band, nor a greater gift to those who already know and love them.

The Town Hall, New York City, Sept. 11

So I saw some really cool shows a few weeks ago. The Airborne Toxic Event, along with their uber-classy pals The Calder Quartet, blessed the East Coast with a handful of magnificent concerts. Part lush string arrangements and heartfelt ballads, part good ol’ sweaty and leaping around like monkeys rock ‘n roll. I’m hard pressed to come up with superlatives that I haven’t already used (in great abundance) in connection with Airborne Tox. Because, you know, I’ve written about these guys a few times before. If it’s ok with you, I’m going to combine the shows I attended – Somerville Theatre, Kewsick Theatre, and New York City’s Town Hall, plus a movie night with some good friends at an old Yiddish theatre on the Lower East Side. It was a magical and spectacular road trip holiday with some of my favorite music as the soundtrack.

Apart from sheer beauty of hearing Airborne with the lush, majestic string arrangements of The Calder Quartet (quite a combination), they radiated such joy during the show, it was beautiful to watch and be part of. With time back home in L.A. to regroup (and to sleep a little) after a crazy 2-year world tour, focused virtually all this year on writing and recording the new album, they were obviously very happy to be out playing again, performing new songs (and several beloved old ones) for wildly appreciative audiences.

This performance was designed to give those outside of Los Angeles a little taste of that very special Disney Hall show back in December, which happily has been released on DVD (a review of that amazing thing is coming up next). The show was split into two sets; the first more acoustic, and the second more rock ‘n’ roll (though the latter half included plenty of classical grace, in the form of Calder Quartet-enhanced versions of “Midnight”, “Innocence”, and a wonderful new arrangement of “All I Ever Wanted,” with a slight structural and lyric change in the middle… very nice.

It began, as did the Disney Hall show, with The Calder Quartet performing “String Quartet: II – Assez Vif: Trés Rhythmé” and Airborne walking out near the end, gracefully gliding into the familiar opening notes of “Wishing Well.” A really gorgeous arrangement. Followed by a perfect segue into “This Losing,” which I for one am very happy to hear is on the new album. “The Book of Love” was next, with Mikel’s touching story about the song, which he sings as a tribute to his grandmother who sadly passed away a week before the Disney Hall show. “Duet” has really come into its own since I first heard it last October when it was known as “Untitled”… heartbreaking and beautiful.

Two more new songs from the forthcoming album made an appearance at these shows. “All For A Woman” is Mikel’s deeply personal thoughts on touring, with Noah playing some really wonderful lead guitar and Steven switching to bass.

“All these grateful looks, all these grateful eyes
all these furious stares, all these fretful sighs
promising everything to everyone
we’ll be back soon, you’re our favorite ones…” – All For A Woman

These special arrangements the band crafted for the Calder Quartet are quite gorgeous. Their performance together of the extended version of “Innocence” is well-known to fans, but the strings in “All I Ever Wanted” (especially Eric Byers’ cello with Noah’s upright bass) are stunning. As was Mikel’s beautiful speech at the beginning, about how music is a celebration of something that brings us all together.

The setlist, as well-crafted as it was, turned out to be a suggestion rather than rigidly adhered to, with the band opting to switch things around here and there, adding a few unexpected but warmly welcomed old friends – “Does The Mean You’re Moving On?” and “Papillon”. In Pennsylvania and NYC, we were treated to “Something You Own,” introduced with some delightful tinkly toy piano and then backing vocals from Anna and Noah (and a few lyric changes as well). The audience, perplexed as to whether or not it was ok to jump up and down while others were seated behind you, chose to sit for the first half and dance during the second. On the set list, “Gasoline” was listed just before “Innocence,” but it never happened that way, because “Gasoline” proved to be so, um, incendiary, it was decided that, as starkly gorgeous as the introduction to “Innocence” is, it would have been a major buzz kill. When it was performed, the Calder Quartet’s accompaniment raised that amazing song to new heights.

For the encore, they performed the title track of the new album, the very anthemic-sounding “All At Once” (”I feel the world changing all at once, I guess we’ll be ok”).

Somerville Theatre ~ September 8, 2010

The Somerville Theatre was at the top of my “wish list” of possible Airborne venues. An old theatre from vaudeville days, it has an art deco charm and laid-back vibe, and hosts many awesome concerts. Wicked comfortable, great acoustics, in a cool neighborhood, and they serve beer and wine. What’s not to love? A low-key, no-stress place, unlike… (well, never mind, as I’ll probably find myself there again when Tox tours the new album). Oh yeah, and a good place to see a movie, too.

Airborne’s last date with Boston was back in April, for the odd and wonderful ‘Jack Daniel’s show’ (and Ames acoustic session). Five months later and so deeply missed that this Somerville show was sold out weeks before, they had been holed up in the studio since early summer recording and seemed as anxious to share their new music as we were to hear it.

Other videos from Somerville: Goodbye Horses | Innocence

“All I Ever Wanted: Live from the Walt Disney Concert Hall” Film Premiere, Sunshine Cinema, New York City ~ September 9, 2010

A very special evening in a small art-house theatre to see a film that literally brought tears to my eyes. Several times. And I don’t often cry at movies. This concert film and ‘making of’ documentary is incredibly beautiful – a full review to follow soon.

Keswick Theatre, Glenside, PA ~ September 10, 2010

A charming old theatre in “Keswick Village”, North of Philadelphia, and a beautifully warm audience with an odd habit of hissing instead of applauding after songs… (see YouTube video of “Happiness Is Overrated”). “Does This Mean You’re Moving On?” was introduced with “hey everybody, we’re gonna play a song we didn’t practice” (though it sounded perfect), and Mikel was so happy with the vibe, he invited everyone over for lunch.

Town Hall, New York City ~ September 11, 2010

It was a poignant day to be in New York City, on the anniversary of 9/11. The streets were amazingly vibrant with tribute events and concerts, and an especially strong feeling of community. And oh yes, let us not forget the Naked Cowboy of Times Square.

The show itself felt somewhat “unhinged” and teetering on the edge of disaster, as NYC shows often do to me. “All For A Woman” was introduced as being about “when you spend a lot of time on tour, your life starts to become a bit of a blur, and you forget what it all started with.” After “Gasoline” raised everyone’s energy level to fever pitch, they followed with “Does The Mean You’re Moving On?”, and then, not wanting to lose that delirious, transcendent moment, continued into “Papillon” to absolute audience frenzy. Mikel, lost in the moment, sprayed the front rows and part of the stage with water, then proceeded to spin around, slip, and wipe out. He handled the awkward (and obviously painful) experience with tremendous grace and good humor (”See, that’s why you don’t do this at home”… “I think I broke my rib. If I keep playing, is that part of rock ‘n’ roll?”… “Does anybody have any fuckin’ Icy Hot?”).

This was also the first time, I believe, that “Missy” paid a visit not only to Bruce Springsteen’s “I’m On Fire,” but also Johnny Cash’s “Folsom Prison Blues.” Both blending in so perfectly, they sound like they belong there.

I have only one question… when’s the next tour?

[For a review of their Washington, D.C. show, see my friend Mary Chang's article on there goes the fear.]

Keswick Theatre, Glenside PA, Sept. 10