Indie Rock Royalty in Brooklyn

| 11 Nov 2014 | 01:57

    Surprisingly, I only heard one person shout a request for “Cannonball” last night. No, I wasn’t at a Breeders concert, but I thought for sure that the recent [mini-feud between indie rock icons Stephen Malkmus and Kim Deal] was sure to bring more Breeders-related heckling from the crowd. Thankfully it didn’t, and Malkmus made no mention of it, using his time on stage to make fun of Neil Young and Dire Straits instead.

    Last night’s show at Music Hall of Williamsburg was Stephen Malkmus & The Jicks’ final of 3 sold out concerts in NYC, and they couldn’t have been more relaxed. The former Pavement front man continues to solidify his legacy in the indie rock world with a brilliant solo career. Until I witnessed it live in all its fury, “Real Emotional Trash,” (Malkmus’ fourth and most recent release) had yet to completely win me over, but the guitar shredding of “Dragonfly Pie” and “Baltimore” were as much a testament to the man’s brilliance as anything else he played.

    Sure, he forgot lyrics to one of his songs, and introduced drummer Janet Weiss by the wrong name, but it was this looseness that made the performance so enjoyable. Malkmus’ style is one that never sounds forced. The guitar solos flow freely, full of life, unlike someone like Steve Vai—who is technically brilliant but tends to lack emotional essence in his playing.

    Pavement were never as big as they should have been, and Stephen Malkmus has been given the same treatment. Just as “Summer Babe” should have been a huge hit for Pavement, last night’s highlight “Baby C’Mon” should’ve been a hit for Malkmus. The critics love him, and there’s definitely a solid fan base, but thankfully for those fans, he still remains able to play the better, more intimate venues like Bowery Ballroom and Music Hall of Williamsburg.

    The much under-appreciated John Vanderslice opened for Malkmus and was as good as ever. After an electric set, Vanderslice finished his set playing from within the middle of the crowd, which proved that Vanderslice is at his best when acoustic and at his most intimate.

    Photos by [Jonny-Leather]