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NOTE: Sarah and I heading to the show not thinking that it was going to sell out. We were pretty wrong and I ended up giving the ticket I had to Irene Ushomirsky (her and her friend were asking for an extra ticket), who wrote this review.
Spitalfield takes the stage while the air at Providence, Rhode Island’s The Call is still fresh enough to breath. The venue has not yet taken on the all too familiar smell of overheated bodies, and the audience is buzzing with pre-show adrenaline. Their sound is pleasant and energetic, but still stinking slightly of the We-Sound-Like-Everyone syndrome that is so common amongst bands in any given genre. Yet their post-teenage-angst punk-influenced ballads seem to draw some die-hard fans, despite the band’s likeness so many others. A few Spitalfield-adorned audience members dance around and sing their hearts out during the opener’s short set, and then abandon the floor for more comfortable, less sweaty, spots in the back.
Although Spitalfield’s lead singer confidently announced the upcoming Honorary Title, it is Gratitude who takes the stage next. This fairly new project consists of five members all at least ten years older than every member of Spitalfield. Jonah’s vocals are hysterical with passion, his eyes are closed, and his body gyrates to an internal rhythm, as he sings, screams, wails, and whispers into the microphone. Where only a handful of fans came to see Gratitude primarily, their eight-song set blows away the three-hundred or so people in the crowd, and by the end there are coutnless head-boppers, and hip-swingers moving to the infectious music, and a mini mob surrounding the band’s merch table.
The Honorary Title is a close second for on-stage passion. The “multi-instrumental” Aaron Kamstra is the melodic backbone to singer Jarrod Gorbel fervent voice. While the band’s live performance could use a little more energy, there is a definite presence of talent and zeal. Gorbel belts out the story-like lyrics to the band’s Elliott-Smith-reminiscent songs, accompanied by his guitar, and shows that he puts no limitations on his outbursts of ardor. Every few songs the musical set is interrupted by THT’s short but amusing interactions with the audience, and Jarrod’s seemingly shy exterior gives way to a funny and amiable personality.
After two genuinely passionate groups, Minus the Bear’s set leaves many audience members craving more. Even though the band’s music is nothing short of interesting, their stoic faces, lack of interaction, and deficiency in energy gives show-goers little to hold on to. Many seem to have come tonight just to see the opener’s half-hour-long performance and do not act disappointed in the slightest when the band descends from the small stage, but those who have not previously listened to Minus the Bear’s records do not acquire any new motivation to go out and find them. The band of course deserves the benefit of the doubt, tonight being the first stop on the tour, but the monochromatic nature of their live performance doesn’t make for optimism.
After four opening bands and 3+ long hours of music, Straylight Run finally takes the stage. Like always, the quartet (joined tonight by a fifth member, introduced as Isaac) does not disappoint their fans. They play thirteen heart-felt songs, including two new ballads and a b-side, “Costello,” from their self-titled album. The John and Michelle Nolan, THE brother/sister duo, switch off between guitar and piano, and fight with the audience for dominance on lead vocals. John tries to hide his smile as the fans in front of him scream out lyrics such as “I die trying just to keep myself from kissing you,” loud enough to overtake his own voice amplified through the microphone. Alas, this is the adoration that the ex-Taking Back Sunday members have acquired over the past year with their new project, and they seem to be basking the in well-deserved limelight.
Written by: IU