Last Night: Canned Acoustica II At Warehouse Live
Check out our photos of Canned Acoustica II: Acoutstic Boogaloo!
It's awfully hard to dog a charity event, especially one donating to a cause as noble as the Houston Food Bank, so Aftermath won't even try. Besides, by the time that Come See My Dead Person finished up their swaggering gyspsy folk set in the wee hours of this morning, the four bins were nearly full with canned goods, and a host of Houstonians had seen a bevy of local acts for next to nothing.
A good time was had by all, and isn't that what matters?
But please, for the love of whomever, Houston - you've really got to shut your mouth at shows. It's not that the noise was unbearable, but the volume of conversation at the rear of Warehouse Live's small Green Room certainly drowned out some wonderful performances, at least in the back.
Yes, Aftermath gets it - it's a show, and you're enjoying it with friends and catching up - but for an event where the poster declares "Silence Is Expected," well, you could be polite enough to move that chatter outside in respect of the musicians and organizers. It's like Houston's very own Never Ending Story sometimes, but it's babble rather than "the nothing" that is swallowing up our concerts.
Brief rant aside, the night was an overall success. Nine Houston acts turned in performances of five or six songs, apiece, often stripped down significantly from the usual sound, a la Young Girls and The Tontons, but sometimes just the standard acoustic fare, as with Erin Rodgers and Lee Alexander. For the crowd, it offered both introductions to some of the bands as well as intimate performances from the more established groups.
In the midst of all the music, the evening was emceed by local moustache Mills McCoin, who provided introductions and wretched factual inaccuracies while riffing on band names, beards, and instruments. His question posed to a member of Poor Pilate was our favorite: "Do you look more like Jesus so that you look less like Dave Grohl?"
Unfortunately, Aftermath walked in on the tail end of Rodgers' set - some unexpected business had delayed us, and we missed the Kennedy Bakery member's solo numbers. Poor Pilate was one of our pleasant discoveries from the night, turning in a bouncing, ragtag arrangement full of froggy vocals, like a cluster of noisemakers from the Appalachian foothills.
Some numbers reminded us a bit of Iron & Wine, but with more grit than Sam Beam's soft vocals. The quartet pulled out a cover for their fourth number, the unmistakable opening riff of "Wonderful Tonight" drawing chuckles from the crowd and prompting Aftermath's friend to declare, "this better not suck."