Margot and the Nuclear So & So's Concert

Last night's show at Mohawk was a charming one indeed.

Casually seated on the balcony with my feet stretched out on the railing, I watched as the musicians made beautiful music on the outdoor stage below.

The experience presented itself as a refreshing break from the sweaty, cramped moshpits that surround the stage at most shows. And affinity for that atmosphere aside, this claustrophobia-free thing at Mohawk has merits of its own.


The first band to hit the stage was Judgment Day, a three-piece classical-instrumental-metal outfit from San Fransisco.

I have to admit, I am not exactly a fan of any of these musical styles. But Judgment Day was in a new league.
Drums.
Violin.
Cello.
No pesky guitars or vocals to ruin the mood.

I was amazed by how rich strings can sound with metal when they aren't blanketed by guttural screaming.

Next up, David Vandervelde.

The group gave a strong rock n' roll performance, hindered by the fact that the vocals were buried for half of the set. However, after a request for the mic to be turned up, their music really came to life.


Headliners Margot and the Nuclear So & So's performed to a crowd that had quadrupled in size. Cramming ten people onto the stage, the band took on the the sound of everyone from Liam Finn to Tilly and the Wall to the Austin Symphony, depending on which instruments were being employed. The layering of sounds produced by the mini-indie-symphony provided the audience with a pleasant heaping of auditory stimulation.


Maybe it was the first feelings of cool autumn breeze circulating throughout the venue, or the sensation of looking down on the bands, or the lush upperwalls of Mohawk that evoke the image of a zoo habitat, or maybe it was just the beautiful music dancing through the air that made this a night to remember.

ACL Aftershow: Conor Oberst, Jenny Lewis & M. Ward @ La Zona Rosa

Approaching La Zona Rosa around eight o'clock last night, the line was already wrapped around the block. By the time doors opened at nine, the crowd began to swiftly move towards the stage.

By 10, the one-man-wonder, M. Ward, took the stage to deliver soulful tunes backed up by his minimal acoustic guitar. Ward was clearly popular with the majority of the crowd, but some groups tended to talk over his slow songs, perhaps still energized from an ACL high. Ward ended the set by bringing up musicians Gillian Welch and David Rawlings for a folksy collaboration.

Next, Jenny Lewis performed songs off her new solo album, Acid Tongue. Opening on the piano, and eventually moving up to the microphone for the rest of the set, Lewis, accompanied by her band, gave a dynamic performance. During the set, actor Bill Murray could be spotted beside the stage. Lewis' performance was impressive to say the least. Even though her album had been out for less than a week, the crowd excitedly sang and danced along like each song was an old classic.

Shortly before Conor Oberst came on stage, Bill Murray was spotted by a large portion of the crowd, who began to scream out his name, and various other comments like "What About Bob!" Murray faded into the crowd on the side of the stage a bit, and the comments stopped when Oberst appeared. Murray could still be seen swaying--eventually dancing, during the remainder of the show. Oberst and his Mystic Valley Band performed songs off their new record, and various other tunes.

After an electrifying set with his band (including a song dedication to Oberst's friend "Bill" coincidence, I think not), Oberst returned for a strictly acoustic encore with M. Ward. As they began, Oberst informed the crowd that it was getting late, and he wouldn't be offended if anyone went home to sleep. Together the pair performed several songs, among them "Lenders in the Temple," the Bright Eyes tune "Smoke Without Fire" and a Lucinda Williams cover with Gillian Welch and David Rawlings.