Joe Pernice is one of those rare talents, like Tom Petty and Robert Pollard, that can make songwriting seem so easy.
The Massachusetts native has churned out perfect rock songs since 1991 on solo records and with The Pernice Brothers, Chappaquiddick Skyline, and the Scud Mountain Boys. His songs are so strong, in fact, that they were able to overcome a muddy sound mix and a chatty crowd during a gig at Off Broadway.
The band was playing in support of their latest effort, The World Won’t End, which is a collection of eleven shimmering pop songs, evoking the spirit of Oranger, the Lilys, and Beachwood Sparks. The Pernice Brothers played “Bryte Side,” “The Ballad of Bjorn Borg,’ and “Working Girls (Sunlight Shines)” during their 70 minutes, and they were all great.
The finest moment of the night comes just three songs into the set, as the band pulls out “Everyone Else Is Evolving,” from last year’s self-titled side project, Chappaquiddick Skyline. The brooding song featured the unforgettable refrain of “I hate my life” to drummer Mike Belitsky’s steady beat, temporarily halting all audience conversation. While we don’t necessarily want to wear that phrase on a t-shirt (available at the merchandise table), it was one of those great concert moments.
The rest of the show was a fair representation of Pernice’s legacy, highlighted by an early Scud Mountain Boys track and two selections from his solo effort, Big Tobacco. The band even played a rare cover of “Island,” a twangy rocker by Massachusetts indie rockers Dumptruck before closing the set with a rousing “7:30.”
The Pernice Brothers certainly weren’t groundbreaking, but they are one of the smartest pop groups around. Intelligent arrangements were combined with emotive and witty lyrics, producing distinguished songs that gradually won the audience over. All conversation had ceased by the time “7:30” came around, proving that great songs always prevail.
Two hours earlier, those who came early were treated to a promising support set from St. Louis’ Waterloo. The four-piece were playing their final show before going back into the studio to record a follow up to their debut, Going To the Sun.
Leader Mark Ray loves bands like Luna and the Red House Painters and it’s reflected in their music. However, a muscled up approach sets Waterloo apart from the countless number of bands that have the same influences. The ability to rock lurks beneath the aestheticism of Waterloo.
Their versatility makes them kindred spirits to bands like Sparklehorse and Nadine. At times, they are subdued, much like the overlooked band from the Quad Cities, Darling. Just one song later, they can explode into an urgent, storming rock song in the vein of Yo La Tengo’s “Autumn Sweater.”
The set proved that Waterloo are strongest when experimenting with their sounds and pushing the boundaries of their music. The song they open with, “Picture Start,” is a good indication of how good Waterloo can be. The instrumental tune begins with the textbook guitar of Mark Ray, and gradually builds energy with some e-bow with Chris Grabau. John Baldus and Dave Melson provide a steady foundation for the tune, which continues to gain momentum until it finally stops.
The rest of the set focused on new material, like the commanding “Engines to Hold On To,” or the slow, quiet “In the Reeds.” Also played, are some of the best songs from Going to the Sun, like “Next Time” and “Veteran’s Day Parade.”
Judging from all of the new music played, the future looks bright. The recent addition of multi-instrumentalist Grabau will hopefully encourage the band to gravitate towards an even more experimental approach. Besides some good music, Waterloo certainly showcased their potential.
Something is beginning to happen in St. Louis and it looks like it could be a great thing. Watch this space.
