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THE SADIE HAWKS, PINK EYE FOR THE STRAIGHT GUY, BLIND MAN DEAF BOY, MARRISA. AND MICAH, LOGAN GREENE

TLMS

Sunday, Dec. 15

It seems like I can't leave my house these days without bumping into an acoustic guitar-slinging troubadour. But for the most part, I'm happy to report that the days of James Taylor and Cat Stevens are more or less over.

Witness Logan Greene, standing on a chair in the entrance to TLMS, singing his heart out and bashing his guitar. Some of the songs he performed are usually played with his electric band, but great as his rhythm section is, they weren't missed. Greene has a fantastic voice and his lyrics are like scythes. While I never thought I'd favorably compare any act to emo also-rans Saves the Day, Greene one-ups them at their own game, which puts him more in line with legendary power poppers like Elvis Costello.

Solo artist Marrisa. (punctuation included) then teamed up with Micah Butler from the band Chatterbox and the Latter Day Satanists for a set of songs, the first half by her, the second by him. Though both interesting, Micah's were the stronger of the two, hardcore punk in style, but arranged for acoustic guitar and washboard. The abrasive percussiveness of both instruments provided a fitting foundation for the pair's X-like vocal interplay and memorable, rousing songs.

A similar concept was executed by Denver, Colorado's Blind Man Deaf Boy, and while they certainly nailed the acoustic hardcore, you have to wonder if it was an idea worth nailing in the first place. Without songs to support the sound, the screeching fiddle, nonstop barking and punk-polka drumming got old fast.

That misstep would've been an advantage to local newcomers Pink Eye for the Straight Guy, but these two ladies were just fine on their own. Even without the ultra-brief song-vignettes, terrific call-and-response vocals, and "Be My Baby"-worthy drum beats, Pink Eye for the Straight Guy could have gotten over on their excitement and catchy choruses alone.

The Sadie Hawks closed out the show with their always-fun, danceable '60s-flavored pop. The quartet's three-way intertwining vocal harmonies was their most, but far from only, outstanding attribute. With their hooky, two-minute would-be hits, The Sadie Hawks make a great case for the minority of us that found the Rutles to be a much better party than the Beatles.

Joshua Levinemailbag@tucsonweekly.com

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