Over the Weekend: July 18-20, 2008
The Kadane Brothers
7th St. Entry, July 19
By Jonathan Kaminsky
The music of Matt and Bubba Kadane gets called a lot of names: slowcore, post-rock, sad core. The label I like best, after seeing them for the first time on Saturday night (after nearly a decade of listening to their music) is shoegaze.
The Texas natives just don’t give their audience much to look at: When the brothers aren’t singing with closed eyes into the microphone, they’re staring at their guitars. For the three-dozen or so attendees at the Entry on Saturday treated to a half-hour of mostly older material, it seemed enough. Their music, slowly building, guitar-heavy, melodic, and ever thought-provoking, kept the crowd quiet and focused.
While I don’t wish to dwell on this, it’s a legitimate shame that songmakers of this caliber should be sandwiched between acts, performing before crowds so small. One likely culprit: a very slow pace of production. Bedhead, the brothers’ band from 1992-1998, managed only three sparkling LPs over its star-crossed lifespan. Their current act, The New Year, has only two albums to its credit in nearly a decade. It’s hard to keep fans loyal—let alone attract new ones—when you aren’t providing ample material to latch onto.
Roy Wilkins, July 19
By John Braaksma
The three-hour set spanned much of Ween’s musical catalogue, an hour of which was devoted entirely to the encore. As the less committed of us trickled out of the venue, the band returned from backstage for what was perhaps the highlight of the show. A pair of panties flung on stage and Dean, like a true rocker, hung them on the mike stand near the drums, a catalyst that ignited the delirious post-show festivities. The band belted out Irish anthem “Blarney Stone” followed by a cover of Motorhead’s “Ace of Spades,” something that someone standing within earshot of me claimed was a Spinal Tap cover, and an ethereal song where Gene, shrouded in smoke, sang a capella. His voice sounded like the combination of a native chant and the wail of a busted electric guitar.
Orpheum Theater, July 18
By Jordan Selbo
Pop references flowed easily into politics, into gender and race relations and back to politics, sports, and more observations on sex and culture in the meandering but unflagging set. The uniformly quality material relied heavily on topical observations and the ensuing brief and hilarious played out scenarios, excelling occasionally when both were silly and profound, such as the view that the government doesn’t really want you to vote, obviously, since they hold the elections on Tuesday: “No one ever throws a party on Tuesday, because they want people to come to their party. I’ve never gotten laid on a Tuesday,” a truly sexless, partyless day. Throw in a few bizarre non sequiturs (“you never see homeless gay or Asian people”), a willingness to indulge a few yelling hecklers (but not too much), and a refreshing lack of shame or self-consciousness for a star of his magnitude, and you have one impeccable standup performance.
Xcel Energy Center, July 19
Photos by Tony Nelson
Neil Diamond performed at the Xcel Center on Saturday night, and Tony Nelson was on the scene to capture the evening in photographs. Click here for his slideshow.
See also: a recap of this past weekend's Pitchfork Festival from our sister publication, the Riverfront Times, including reviews of Les Savy Fav, Boris, HEALTH, The Hold Steady, Fleet Foxes, and many more.