The Grates at Pianos; July 29th 2009

The Grates at Pianos; July 29th 2009

Charlotte Sometimes was the first on stage and has one set of pipes on her, Buenos Dias were a little too instrumental for my taste, and The Whims were the embodiment of indie pop (re: very enjoyable and lighthearted).

Charlotte Sometimes at Pianos; July 29th 2009

Buenos Dias at Pianos; July 29th 2009

The Whims at Pianos; July 29th 2009

Full set of photos from the night found on Prefix Mag.

The Grates were as energetic as ever and Patience, as part of a new tradition of ribbon twirling, once again picked out the strongest looking guy in the crowd and spent a song on his shoulders, twirling merrily.

The Grates at Pianos; July 22nd 2009

Woodsy Pride at Pianos; July 22nd 2009

Sissy Clemens at Pianos; July 22nd 2009

Sissy Wish at Pianos; July 22nd 2009

Bonus thanks goes Patience‘s way (and not just because of the fun show), for quickly coming in person to sort out a guestlist mishap.

Full photo set will be available on Gigwise on Monday.

Up next: Backtracking to quick photo coverage of 12 out of 14 bands that played at Siren Festival 2009. Then another Grates post!

The band had played SXSW a few days before, and it was good to have them stop by on the way back to Australia, their last show in the US was back in 2006.

The Grates at Mercury Lounge; March 23rd 2009

The full set is up at Prefix Mag for now.

Tomorrow is Morrissey day, but without a photo pass (despite magazine backing!), I may only come back with a story instead of photos.

Date: December 9th 2006

This is set to be a great show, with a bill as lauded as it is. The Grates – we’ll refrain from making any ‘great’ jokes – provide childish exuberance and amusement. If anyone can warm up a chilly crowd, it’s Patience Hodgson, and she does a marvellous job. ‘Howl’ and ’19-20-20′ make quite an impression, and it may be the crowd interaction that’s putting a look of awe and fear of being singled out on peoples’ faces. ‘Rock Boys’ wouldn’t be what it is without Patience climbing down in to a tightly formed circle on the floor, twirling her ribbon like a pro – she calls it “making love on the dance floor” and who are we to disagree?!

Oxford Collapse provide more on the comedy front, looking like a laid-back, local garage band. At least we know for a fact that they’re local. The entertainment continues. ‘Please Visit Your National Parks’ is an upbeat track with softer backing, and the whole set is evenly split between dancier tunes and low-key strumming. They look like they’re just having fun and aren’t too fussed about looking polished. Many a jab is aimed at their new pals We Are Scientists (new album to be called ‘Obvious Shit…’ or not) and there’s a stir when the band in question makes a guest appearance or two.

Unfortunately, We Are Scientists are underwhelming when compared to their opening acts. They are left with nothing to supply, even the stage lights aren’t turned on properly, making them look like a gloomy underground band. Sure, the younger-than-usual crowd laps it up, singing along slightly out of tune to ‘Nobody Move, Nobody Get Hurt’ and ‘The Great Escape’, and arms are waving in fannish delight; it’s everyone else who fails to see what the fuss is all about. The small talk that runs a little long wedged in between every two songs or so doesn’t help either.

All the elements for a good show are there: the catchy tunes, the amped up home crowd, and a small, intimate venue. But it somehow falls a bit flat, and if you close your eyes, it’s almost as if you’re standing in a crowded room just listening to a really loud soundsystem.

Previously published on This Is Fake DIY.

Date: September 12th 2006

The Grates seem a simple band and the goal is fun, fun, fun. Patience Hodgson and co. not only have the infectious songs, but an attitude to match. There’s high stepping, high jumping, ribbon twirling, and a few dog howls – they’re as unique as fingerprints don’t you know? – to liven things up as if they weren’t lively enough already.

The floor shudders as a few brave souls follow Patience‘s spirited example and instead of standing stock still, which is the default position during an opening band, jump for all they’re worth during ‘Inside/Outside’. No one even minds being momentarily singled out and called ‘motherfucker’ to their face. Now that’s charm!

‘Feels Like Pain’ has a raw edge to it, and ’19-20-20′ pops with energy that is infectious. ‘Little People’ is a high success, there being plenty of them in the room. And instead of the usual cheerful manner that meets an announcement of ‘last song’, there are groans from the crowd: the locals like what they see and want more. Alas, it is not to be just yet, though evidently a headline tour wouldn’t go amiss.

Maybe gravity won’t get you high, but you’ll be dizzy and giddy by the end, your eyes and feet trying to keep up with the high-kick show.

Previously published on This Is Fake DIY.