My favorite shows make me feel as though I'm watching someone cheat death, the ones that seem slightly out-of-time and off-balance -- like I’m not supposed to be there, but by some miraculous twist of fate, I've managed to slip beneath the velvet rope. When Shudder to Think were at the height of their fame, I was riding the school bus with a route number pinned to my jacket. Velvet Goldmine hit movie houses during the band's split-second Lazarus, and I was trying to decide if boys were still gross or not. I think back to my other favorite live experiences, and the theme runs deep: I'm damn lucky to have caught this before it was too late. Dinosaur Jr., The Pixies, Sonic Youth... get it?
Of course, we were late to the show.
(Post-show conversation via Gmail Chat)Kevin: we missed like 6 songs
me: blech
in a way i do not feel worthy of writing a STT live review
as a first-timer
also i never know how to explain missing parts of the concert
"sorry, i got lost"?
"... in the limpid pools of paul rudd's eyes in the bathroom"?
I'm not kidding about Paul Rudd (fortunately, we seem to have similar toilet-timing and music taste) or about the six songs. This is Shudder to Think’s first “official” reunion gig -- save for a quick set at the Mercury Lounge in September, along with Cardigan Nina Persson’s A Camp -- and, unfortunately, this is what happens when you put two strong-willed music critics en route to a concert and each one insists I Am Right, We Go THIS Way, You Asshole.
So, not only do we miss the opening song, "Red House" (originally found on 1991's Funeral at the Movies), we also miss "Shake Your Halo Down," "Hit Liquor," "Love Catastrophe," "Lies About the Sky," and "Jade Dust Eyes." We're still running up the venue's entrance stairs during "Man Who Rolls," when I'm struck by the decadent, sparkling sheen that's fallen over the crowd, kind of like showing up after everyone’s already taken the first hit. Despite our tardiness, the venue is pleasantly packed rather than unbearably mobbed, so we're able to secure a decent vantage point (which I later abandon for a spot near Craig Wedren's feet).
Tonight, Wedren bears a few more lines on his face and an elaborate show of sexy/sinister facial hair. Shudder to Think lived (and live) to fuck with you, and Wedren leans back invitingly during the soaring chorus of "No RM. 9, KY," allowing us to settle into the eye of the storm before we’re thrown right back into the fray. Sure, they know how to write a classic melody line, but that doesn't mean you're gonna make them do it. They draw heavily on their first departure from Dischord, Pony Express Record, which is what most probably hoped for as they purchased their tickets. Epic Records wasn't quite sure what to do with it in 1994, and it was largely overlooked. Still, enough record geeks and magazine reviewers embraced its complexity and style-spanning beauty that it became one of the most critically acclaimed albums of the ’90s. Most of us here tonight have cut our teeth on it. I wish for blue eye shadow on the band members during the surly "X-French Tee Shirt," but I suppose that’s asking a little much.
During breaks between songs, it becomes obvious that even Wedren can hardly believe we're here. "Thank you for coming ... no, seriously. Thank you." When the singer of a long-defunct band thanks you for coming, the gratitude has much more weight than your typical touring rock singer. At shows like these, the veteran musicians get to look out on that crowd and realize they still matter, which is certainly notable in an industry that latches onto The Next Big Thing at a sharp clip. No matter how nonchalant reunited bands appear, they exude that emotion so palpably it becomes one with the bass and, thus, your heartbeat. I've never seen a band of this genre (not that I'm volunteering to define it) smile so much.
I breathe a sigh of relief at the unabashedly glam-soaked opening riff of "The Ballad of Maxwell Demon," one of STT's two contributions to the Velvet Goldmine soundtrack. I'd been afraid that this song would be too obvious for the set, but therein lies the beauty of a reunion show. Nothing's too trite, because the gauntlet has been thrown down for the band: make them remember exactly why they love you. It was also at this point when I became truly grateful for my position at Wedren's feet. No, the band members didn't adorn themselves with glitter and spandex, but I take what I can get.
"Day Ditty" from Funeral at the Movies completes an otherworldly set, with Nina Persson of the Cardigans (wife of STT's Nathan Larson) and NYC singer/songwriter Amy Miles on backup vocals, smiling fit to split, 'cause they've been in on it the whole time. Tonight, we've reached a tipping point. If Shudder to Think needed an extra push to decide whether or not they should keep doing this, I think New York City accompanied it with a healthy smack on their collective ass.
Setlist:
