Dr. Dog played to a sold out crowd at the Fillmore

It’s not often that you see a dad navigate his way through throngs of concert-goers gathered by the front barrier to track down his teenage daughter. Most dads would just make sure their kids were doing okay and hang by the back bar until the concert was over. But when Dr. Dog is the band taking the stage, who can blame the guy for getting front and center? The local group played an incredible St. Patrick’s Day show at a jam-packed Fillmore in Fishtown.

Dr. Dog is a band that brings together the young, the old and the people in between. Teens decked out in Dr. Dog tee shirts, and of course the trademark Dr. Dog winter hats, swarmed towards the stage. Twenty- and thirty-somethings were packed three deep at the bars as they tried to get some alcohol into their systems to properly celebrate the feast of St. Patrick. The older people camped out in the seats on the balcony that runs all around the top half of the venue.

Everyone was getting settled in as another notable local band, Hop Along, opened up the night. The band garnered nationwide acclaim after releasing their latest album, “Painted Shut” last year. Guitarist and lead singer Frances Quinlan had her trademark vocals on full display as she howled with emotion and passion during songs like “The Knock” and “Powerful Man.” Members of the group complemented the each other well. Guitarist Joe Reinhart was totally shredding while bassist Tyler Long and drummer Mark Quinlan together provided a rock solid rhythm section. Quinlan thanked the band’s friends and families for coming before playing the group’s closing number, “Sister Cities.”

The Fillmore crowd was raring to go as Dr. Dog finally made their way to the stage one by one and began to play “Holes in My Back.” It’s a pretty epic tune from Dr. Dog’s latest album “Psychedelic Swamp” that only got better as the band segued right into “Fire on My Back.” Dr. Dog set the tone for the night as they kept their foot right on the gas, playing “Bring My Baby Back,” also off “Psychedelic Swamp,” and the classic “That Old Black Hole.”

It’s hard to find a band that plays as tightly as Dr. Dog does. Toby Lehman and Scott McMicken are both great on vocals, Frank McElroy is steady as hell on guitar and backing vocals and drummer Eric Slick literally never seems to miss a beat. “Be the Void” was one of the best tracks of the night as the band took some time to jam out before bringing the song to a resounding conclusion. No matter what the song, Dr. Dog is giving it their all and it’s why their live shows are a must-see experience.

Dr. Dog has such a deep catalogue that the set list always provides great songs you forgot about right along with their hit tracks, of which there are many. Songs like “Distant Light” and “Turn the Century” were my prime examples of “Oh hey, this song is playing, good thing I somehow know most of the words!” Then when the end of the set comes along, Dr. Dog can bring the house down with their solid gold hits. On the night of St. Patrick’s Day the big three songs to close were “How Long Must I Wait?,” “These Days” and “Shadow People.” If you have never heard any of those songs but have made it this far in the article, go listen to them right now, I’ll wait… Hey thanks for coming back, or for some of you, never leaving. Like I was saying, it is insane how much energy is packed in those three songs. The band finds a whole other gear that takes the crowd to a place reached by few. Oh boy, I get all psyched up just thinking about it.

After the legions of fans demanded an encore, the guys came back out and played “Nellie,” a great sing-along jam. The mob of Dr. Dog fans swarmed towards the stage as Lehman said the phrase that will drive any crowd bonkers, “It’s time for some requests.”  A lady to my left was given the microphone and requested the deeper cut “Vampire,” from “Be The Void.” After that, McMicken decided it was time for another request and handed the mic to yours truly. I was totally freaking out but somehow managed to request my favorite Dr. Dog song, “The Rabbit, the Bat and the Reindeer.” I don’t know if there is a cooler feeling in the concert-going world than getting to decide what song 2000 plus are going to listen to; it’s surreal.

Oh, but the magic did not stop there as Lehman deemed one more request necessary and handed the mic to The Triangle’s very own Assistant Entertainment Editor Matt “Babyface” Coakley who requested the classic, but a little overplayed, “Heart It Races.” While some in the crowd were clamoring for some lesser known and played songs, there were plenty who might have been seeing Dr. Dog for the first time and “Heart It Races” live is not a song to be missed.

Dr. Dog played “Lonesome” and left the stage at half past eleven. At almost two hours, it was most definitely the longest show I’ve seen the band play. Hometown shows are always something special and with Dr. Dog that is doubly true. If you missed this epic St. Patrick’s Day show, not to worry, the band will be back at the Fillmore again April 16. Buy your tickets now– heck, even bring your dad along.

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Fishtown’s Johnny Brenda’s saw one heck of a dance party April 1. The event ‘Dance Yourself Clean’ was hosted in conjunction with artist Andy Clockwise and created a great atmosphere in a sold-out venue that let ticket holders dance and party late into the night.

The idea with Dance Yourself Clean, named after the song by LCD Soundsystem, is pretty simple: play dance-y indie songs that you don’t get to hear in your more traditional dance club. For me, it’s the best thing since sliced bread. I’m not a big dancer but when you start blasting songs like “1901” by Phoenix and “North American Scum” by LCD Soundsystem through giant speakers I can’t help but start cutting up the rug.

Andy Clockwise went on stage around half past ten p.m. Clockwise performed songs off his EP “The Good Book” and really drove the crowd into a frenzy. During “Cocaine & Champagne” Clockwise invited anyone and everyone to hop on stage and dance with him. Clockwise was yelling out “Dance motherf-ckers,” which didn’t entice me to dance personally, but Andy is a professional; he knows what he is doing. Later, Clockwise came back on stage to perform “Open Relationship,” another get up and go kind of track. With a sound vaguely reminiscent of LCD Soundsystem, Andy Clockwise was a great addition to the Dance Yourself Clean experience.

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At 20 years old, Drexel student Butch Serianni (aka OddKidOut) has a more impressive musical resume than many artists twice his age. A drummer since age six, Serianni has worked with Grammy-award winning producer David Ivory, soul-singer Jaguar Wright and members of the renowned alternative hip hop group Digable Planets. He assumed the name OddKidOut eight months ago and is releasing his debut EP, “Within,” March 11. Serianni chose to make an “autobiographical” record out of “Within”, chronicling his life thus far. As ambitious as the premise is, the record unabashedly invites the listener into the very personal details of Serianni’s life through textured chords, syncopated beats and a slew of exceptional features.

The opening track, aptly titled “Chapter 1,” begins with Serianni being asked “so it took you twenty years to get there? Are you happy now?” He timidly responds “yeah… yeah I think so…” before a heavy horn section and a saxophone solo introduce the beat. The listener is immediately reminded of the boom bap sound of early 90s hip hop. This is no coincidence.  Serianni lists J Dilla, Pete Rock, and 9th Wonder as some of his biggest influences.

While his beats are rooted in golden age hip hop, Serianni uses an eclectic mix of sounds to tell his story. “LonelyMolecules/NegativeBonds” begins with a soundbite of what we can assume to be Serianni’s mother speaking to him when he’s just a few months old. Here, the first of a number of excellent collaborators, Ashley Leone, adds a beautiful verse before the drums come in and Serianni shows his skills as a rapper.

The song ends with another soundbite as an intro to “The Void” in which Serianni receives a call that says “Butch – your father’s in the h-.” “The Void” is centered around a beeping tone reminiscent of an electrocardiogram that reminds the listener of a hospital setting. Serianni says that the slow, spacious track represents a long period in his life during which his father battled cancer.

On “Amore,” singer GoGo Morrow sings relatable lines about wondering whether she is in love or not. Veteran Philadelphia rapper Bonic (of Philly’s Most Wanted) contributes a powerful verse before the song fades out. While the track was loosely based on a personal situation, Serianni says that he wanted it to be relatable to anybody who’s ever had trouble in a relationship.

Another song, “Drowning” is a spacey, ethereal track which provides a sonic buffer between the deep emotions of “Amore” and the conclusion, “Illalogue.” On the final track, the conversation from “Chapter 1” repeats, except this time Serianni confidently responds, “I’m more than happy. I’m grateful, I’m thankful, and I’m moving towards my dreams.” A high-pitched vocal sample, similar to those found in early Kanye West beats, provides the backbone for a fast-paced track featuring rapper Odyssey. Odyssey raps about the success he’s found through rap, the ability to make everything a work of art, and even works in an ode to Philadelphia, complete with a Pat’s & Geno’s reference. The bold, energetic track is a statement that Serianni has found himself in his music as OddKidOut.

The producer and drummer says that the achievements that he has made during his eight months as OddKidOut have surpassed those that he has made in his fourteen years of drumming. “Within” is a powerful debut that clearly demonstrates his creativity and skills as a producer.

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Photo: Margaret Fedorocsko, The Triangle

Brian Fallon will release his first solo album, “Painkillers,” March 11; and he kicked off the release with a show at the Electric Factory March 8. Known for his role as the lead vocalist and guitarist of the renowned The Gaslight Anthem, Fallon is also a member of the Horrible Crowes and Molly and the Zombies. He is used to being part of a group, so this album will be Fallon’s first opportunity to be free from restrictions and guidelines. The concert foreshadowed this new side of Fallon, proving that the 36 year-old artist from New Jersey can create tasteful alternative-rock music independently. Fallon was able to deliver an unexpectedly flawless performance made even better by his captivating persona.

The show opened with Jared Hart of The Scandals. Hart set the stage for an evening filled with zealous voices and lyrical brilliance. His rough voice boomed through the venue, perfectly complimented by original guitar riffs. The next act, Austin Plaine, contrasted Hart’s edgier style with softer folk.

Finally, Fallon himself dashed on stage, immediately sharing his charisma with the excited audience. Fallon wasn’t ready to perform on his own yet and had help from five others including several members of his former groups like Alex Rosamilia of The Gaslight Anthem and Ian Perkins of the Horrible Crowes. Hart also jumped back on stage to help with backing vocals.

Though it was a big night for the artist, Fallon remained calm and sang with more personality than ever. After perfectly belting out the first few songs, he shared amusing stories about his love for Ellen DeGeneres and “Access Hollywood.” As the audience erupted in laughter, it was hard to distinguish between a stand-up comedy show and a musical experience. Fortunately, Fallon is as talented lyrically as he is at coming up with humorous stories on the spot. In addition to fan-favorites like “Nobody Wins,” “A Wonderful Life,” “Smoke” and “Steve McQueen,” Fallon amazed the audience with some brand new songs as well. Of course, he never stopped cracking jokes in between songs and continued to charm the crowd. Fallon made the performance very personal, telling the audience that he’d love to hang around if anyone wanted to “say hi.”
The show marked an exciting milestone for Fallon and proved that he is ready to take on the solo experience. Fallon stood stronger than ever, signifying his growth as an artist. He certainly has the talents and the personality to charm the world even without fellow members of The Gaslight Anthem. Although many fans were upset by the band’s recent hiatus, the talent and creativity lives on through Fallon himself.

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Kesha, the pop singer we all know for songs like “Tik Tok,” has been in an ongoing battle with Dr. Luke, her former producer. Dr. Luke signed Kesha when she was just 18 years old while he has worked with several other big name artists such as Britney Spears, Katy Perry and MIley Cyrus. It all started in October 2014 when Kesha accused Dr. Luke of abusing her “sexually, physically, verbally and emotionally.” Kesha’s accusation states how there have been many instances where Dr. Luke drugged and raped her, made threats to her and her family as well as delivered condescending comments about her weight. Kesha’s mother Pebe Sebert, in an interview with People magazine, stated that “Dr. Luke had been telling her how she had to get in shape and lose weight and all this stuff. She was exercising and dieting and ultimately doing everything she could, but not getting thin fast enough. And that’s when she first became bulimic.”

To make things worse, Dr. Luke is denying all these accusations and countersued by saying that Kesha is exploiting him and only doing this so she could leave Kemosabe Records (part of Sony). Kesha, however was merely requesting that she didn’t have to work with Dr. Luke. Sony wasn’t able to give her a 100 percent guarantee to fulfill her wish.

Kesha’s next step was to request an injunction which is a court order requiring a person to do or cease doing a specific action. If the injunction were to be granted then it would have to “maintain the status quo by preventing a defendant from becoming insolvent or to stop the defendant from continuing his or her allegedly harmful actions.” For Kesha, it would mean that she would be able to record music outside of Kemosabe Records. Kesha’s fans never backed down in any way. The #FreeKesha movement was born where everyone stood together to defend Kesha all over social media.

On Feb. 19 the New York Supreme Justice Shirley Kornreich didn’t let the injunction go through because according to her, Kesha was “asking the court to decimate a contract that was heavily negotiated and typical for the industry.” She also brought up the counterargument the label had about how Kesha was “given [an] opportunity to record” and that was no “irreparable harm.” Kesha was in tears at the time of the hearing.

Kornreich still has to make rulings from any other counterclaims that were made during this case by using more evidence. Dr. Luke’s lawyer stated that “We are pleased with the court’s decision from the bench fully denying Ms. Sebert’s motion for a preliminary injunction. As the court recognized, Ms. Sebert has always had the ability to proceed with her career if she so chooses. We remain confident that when all the facts are presented, Ms. Sebert’s allegations against Luke will be shown to be completely false and were asserted solely to extort money and gain contractual leverage.”

Kesha’s supporters are still optimistic and will continue with their #FreeKesha movement for hopes that things will turn around.

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Photo courtesy 4AD

“Return to the Moon” is a neat little album by EL VY, a collaboration between the National frontman Matt Berninger and Brent Knopf of Ramona Falls. Side projects and collaborations are always compared to the collaborators’ better known work. In Berninger’s case, you are comparing this one album with the National’s collective catalogue. A discography that has vaulted them to the stratosphere of the indie rock world. I want to try to avoid that, to take EL VY’s “Return to the Moon” for what it is, a solid little album that is a cut above most recent indie releases.

The very first track on the album, “Return to the Moon” (political Song for didi Bloome to Sing, with Crescendo), sets a tone for the rest of the album. It’s a light, almost-pop song that features a zippy guitar line that lodges itself in your head almost immediately. With a great bridge that takes you in the crescendo mentioned in the song’s title, it’s definitely a standout track on the album.

As only a casual listener of the National, you can quickly notice some commonalities with these tracks and those from Berninger’s better known group. The conversation-like lyrics contain references to Berninger’s hometown of Cleveland, Ohio as well as plenty of lines that don’t seem to mean much of anything but sound nice in the context of the song and its melody. A great example is from the aforementioned title track, “I scratched a ticket with the leg of a cricket; and I got triple Jesus.” Who knows what that means, but you’ll find yourself singing it anyway. Nowadays, everyone wants to know exactly what every line of every lyric means. We have whole websites like Genius devoted to the subject and I keep asking, “Why?” Why can’t we leave the artist some room for ambiguity, some room for us to place our own meaning behind the words we hear sung? Anyway, prepare for 11 songs filled with lyrics that may or may not mean anything all.

The album switches gears a couple of times throughout its run time. The A side featuring more rock-leaning songs like “I’m the Man to Be” and “Need a Friend”—the latter might just be the best track on the whole album. The transition over to the B side is a bit slow going with songs like “Silent Ivy Hotel” and “Paul is Alive,” which drag on a bit and have now become automatic skips when I listen through “Return to the Moon.”

However, the album finishes strong with its last four songs. “Sleepin’ Light (feat. Ural Thomas)” is a favorite of mine, opening with soft, rugrats-esque keyboards before a slick guitar line starts up. “Sad Case” and “Happiness, Missouri” have a darker, more brooding aura about them that definitely feels a little like the National. And with “Careless,” EL VY close the album with a great, sad song that will linger with you long after you’ve finished listening.

All in all, “Return to the Moon” is a tight, solid album that delivers some great tunes in the crowded indie rock scene. Sure it sounds like the National Lite in parts but I would probably be saying that it sounds like Ramona Falls Lite if I had had the chance to listen to their songs at all. That’s just the nature of collaborations.

EL VY will be coming through Philadelphia Nov. 10 to play a show at Union Transfer. I recommend giving “Return to the Moon” as listen and if you like it come on out. If you’re a fan of the National, don’t miss the opportunity to see Berninger in such an intimate venue. They’ll be playing “Return to the Moon” in its entirety and hopefully the show will be out of this world.

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Andy Deng – Ryan Stone The Triangle

Among the brimming population of students here at Drexel University—over 26,000 as of 2014—a few spend their days, outside of classes of course, practicing art for myriad reasons. To possibly become a professional musician, to relieve stress after studying and going to classes, to entertain for the sake of humanity; whatever the reason, there exist Drexel musical talents that are beyond the likes of Chiddy Bang.

In an effort to showcase these talents, students have been sought out to tell the tale of their musical endeavors. Spotlighting Drexel University musicians, including instrumentalists, vocalists, and otherwise, will deservedly present talented, artful minds to the student body audience and beyond.

For the first artist showcase, a junior who goes by the name Alan “Mullophant” Deng – Mullophant being his DJ name—recalls moving across the globe throughout his life while music remained a constant.

Born in Japan to Chinese parents, Deng moved to New Zealand when he was four years old. When Deng was 13 years old, his family moved again, this time to China. It was the pursuit of higher education at age 18 that brought Deng here to the United States.

Deng’s future in music began at the young age of five when his parents enrolled him in piano lessons.

“I started my first piano lesson in China, actually when visiting family, and they were like, ‘Why don’t we go for a piano lesson?’ I heavily resisted because I didn’t really want to learn, but I went anyway,” Deng said. His parents kept him in lessons for the duration of his childhood.

Rigorous teaching and high standards led Deng to practice many hours a day and become proficient at an instrument he initially was reluctant to play. In a few months, Deng was performing and playing at recitals. At age six, Deng won first place in a competition in Auckland, New Zealand after performing a piece by Claude Debussy, a late 19th century composer.

“I guess there were signs all throughout my childhood that I was somewhat good at it, but I always attributed that to my piano teacher being tough. I’d say I started identifying with piano when I was around 11,” Deng recalled.

Even after moving to China, Deng pursued music to higher and higher degrees, eventually self-teaching and learning theory. There was a spark within him that made the teenage musician want to pursue music professionally, but it was adults around him that encouraged him otherwise, warning of the music industry’s far reach.

Nevertheless, Deng passionately practiced music for hours on end day in and day out. In high school, Deng picked up the cello, attesting it to his liking of classical music. A further interest in jazz music led Deng to practice playing the saxophone in the school jazz band; right around the same time he sang tenor for the school choir and chamber choir. Deng also dabbled with playing the drums, something he also learned to play on his own.

Nowadays, however, traditional instruments are not Deng’s focus. Around the time Deng was picking up instruments left and right, the sounds of electronic music grabbed his attention. Electro swing artists like Parov Stelar and EDM artists like Skream and Benga helped pull Deng into the world of electronic music.

While his traditional instrumentation swayed, Deng decidedly purchased a controller and split a mixer with a friend, in effect launching himself into the world of DJing. Years of practicing and good connections (by way of promoting shows himself) have even landed the Drexel junior a performance opportunity at District N9NE. It seems that music has taken Deng far in life, and he doesn’t plan on stopping anytime soon.

Asked if he ever had any plans of being a professional musician, Deng said he dreamed of becoming a professional DJ, in addition to pursuing a career as a concert pianist – even hinting at trying to work for Steinway.

“[My school in China] did a massive production every year…and we had a guy from Steinway come in, David Curtin, and he gave us master classes.”

With that connection and experience, Deng sees professional musicianship as a dream, but his current focus is still on college as he studies biomedical engineering.

Some people just have a knack for art, be it painting, sculpting, writing, or playing. Drexel’s student body is peppered with artistic talent, and it’s students like Deng that represent a culture of talents in University City, Philadelphia, the U.S. and worldwide. In the not-so-different future, we may even hear again from Deng… or rather, Mullophant, when his music plays for all to hear.

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Kurt Vile – Shane O’Connor The Triangle

It was a dark and stormy night as the doors of Union Transfer opened to those waiting for the sold-out Kurt Vile and the Violators concert Oct. 9. Touring in support of his latest album, “B’lieve I’m Goin Down…,” Vile put on a great, intimate set for his hometown crowd.
Two opening acts shared the bill with Vile: Luke Roberts and Waxahatchee. The latter’s name may suggest a more folk-leaning sound, but in fact shades more towards punk rock. Anchored by lead singer Katie Crutchfield, the band put on a passionate performance that revved up the crowd to see the man of the hour, Kurt Vile.
“B’lieve I’m Goin Down…” is a great record that has a more introspective, somber sound than some of Vile’s previous releases. Coming out in a dimly fog with his three bandmates, the Violators, Vile launched into two of his newest songs, “Dust Bunnies” and “Pretty Pimpin.” Both arrangements sounded fantastic and lived up to the high standard that was set by their album versions. “Wheelhouse” and “I’m an Outlaw,” two other songs from “B’lieve I’m Goin Down…” were also great to hear live. This show at Union Transfer was only one of a handful that Vile and the Violators played, so all the new songs sounded fresh. Vile noted that it was only the second time that they had played “I’m an Outlaw,” which featured Vile’s plucking at a banjo during the course of the country rock jam.
It wasn’t just the new songs that pleased the concertgoers who were packed tight inside the venue. “Jesus Fever” from “Smoke Ring for My Halo” and “Goldtone” from “Wakin on a Pretty Daze” were both met with raucous applause. Though both were great, neither could hold a candle to the pre-encore song, “Freak Train,” from Vile’s 2009 album “Childish Prodigy.” Featuring one of the violators on saxophone while the drummer pounded away in a methodical frenzy, lights roved to and fro as Vile and his band were shrouded in shadows. During the song’s frantic climax, the lights were turned off completely several times as the music blared through the venue. It was crazy.
Vile and the Violators came back out to a warm round of applause and proceeded to play a two-song encore. For my money, “Wild Imagination” is the best song on the new album and it was a delight to hear live right off the bat during the encore. Vile then sent the Violators off stage as he closed with “All in a Daze Work.” With his cool, calm demeanor, Vile made a great live set in front of a sellout crowd look like just another day’s work.

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The Growlers – Shane O’Connor the Triangle

It’s hard to say what’s so good about California garage-surf rockers known as The Growlers. Listen to cuts off any of their albums and you’ll notice the airy beats, jangly guitars and the gravelly vocals. It’s easy to enjoy, but after a while you may listen to half an album without noticing a track change. However, the band and its songs take on a whole new life when heard live. Union Transfer was packed with fans Oct. 5 and the six-piece group put on a great show full of dancey tunes and good vibes.
After a funky set by DJ Johnny Basil, The Growlers took the stage to a loud round of applause. The group is touring in support of their 2014 album, “Chinese Fountain.” The band is led by singer Brooks Nielsen. His smoky vocals hold your attention with captivating lyrics in almost every song. The other members of the band create music that meanders along in the background as Nielsen sings lines such as “When I can give you everything you ever wanted instead of take,” on “Someday” and “Listen for fate’s whisper, it’ll try and warn you,” on “Love Test.” For a change, the lyrics provide the meat of the song instead of the music. I think that that is The Growlers’ key to success.
Nielsen repeatedly told the crowd that his voice was not in good form but you’d be hard pressed to tell. The fans in attendance certainly did not seem to notice. A knot of fans in the middle were dancing like their lives depended on it throughout the entire show. Almost every song had a crowd surfer or four make their way to the stage for a quick dance as the band looked on grinning. Everyone enjoyed themselves.
The highlight of the set was the one-two punch of “Chinese Fountain” into “Good Advice.” The title track from The Growlers’ latest album has the most zip as it moves quickly along with an 80s dance groove. Following it right up was the anthemic “Good Advice.” The crowd joined Nielsen to sing the chorus, “There’s nothing as depressing as good advice, no one wants to hear how to live their life.” It was awesome.
After coming back for a quick encore which included the great track “Big Toe,” The Growlers gave the crowd a hearty thank you and left the stage for good. People streamed towards the doors with smiles on their faces after a night spent dancing to The Growlers.

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Dr. Dog performs
Shane O’Connor, The Triangle

It’s not often that I find myself at the theater. Too much time spent at high school musicals purged any and all interest I had in seeing a musical stage production. But when I saw that Philly’s own Dr. Dog would be putting on not one, not two, but four shows of some mysterious music theater experiment called “Swamp is On” Sept. 10, I couldn’t not go check it out.

Working together with the Pig Iron Theatre Group, Dr. Dog created quite an atmosphere at Union Transfer during their four-night stand. There were actors milling through the crowd dressed as security guards, complete with black suits, aviator sunglasses and earpieces. Off to the side, wader clad people sat aboard a dinghy while gutting old cassette tapes, many of which were donated by audience members at the band’s behest.

On stage there was even more to see. A giant satellite dish dominated the far corner of the stage. Opposite that were stairs leading to a control console being futzed and fiddled with by scientists who were members of the Pig Iron Psychedelic Signals Auxiliary, we would soon find out. In the center was the band’s gear, positioned in front of a massive projector screen. The scene as a whole created a unique atmosphere that was unlike any other concerts I’d ever been to before.

Dr. Dog played the role of the Dr. Dog Pop Detachment who were working with the Pig Iron Psychedelic Signals Auxiliary to create a “performance-experiment” that would attempt to tune into the “rare frequencies” of the Psychedelic Swamp. Together, they planned “to agitate the cosmic order and commune in real time with the sights and sounds of another dimension.”

The story was a bit silly but was still a ton of fun to watch unfold on stage. There was a man dressed up as an astronaut, a scientist wearing a giant lion’s head, and in the end a man covered head to toe in cassette tape. The musical aspect of the show was not lacking at all. Dr. Dog played some lo-fi swamp funks that got people jiving. The video screen displayed distorted images of the goings-on and some other snippets of film during the show.

After learning the truth about the swamp, there was still a Dr. Dog concert to be had. Once the stage was cleaned up, the band came out to a roar of applause and launched straight into “Shadow People,” one of my personal favorites. It really set the mood of a set that would be composed mainly of hits, including “Heavy Light,” “How Long Must I Wait?” and “Broken Heart.” The group was in fine form. Drummer Eric Slick was rock solid and guitarist Frank McElroy laid down some sweet licks, particularly the solo on the cover “Heart It Races,” originally by Architecture in Helsinki. Bassist and singer Toby Leaman showed off some sweet dance moves and even jumped into the crowd during “Lonesome.” Singer guitarist Scott McMicken, wearing a nice “Swamp Truth” T-shirt was steady as ever throughout the set.

Dr. Dog puts on a great live show every time you see them. Combine plenty of great songs with a band that plays as tight as ever, and you won’t be disappointed. Throw in the added bonus of the weird but still neat “Swamp is On” and any of the four nights of shows were not to be missed.

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