This is a concert review that was going to run in the Features section this week, but there wound up not being enough room for it in the section. A story of mine about the planetarium did run in the News section though. Anyway, here’s my review:
A brigade of bonafide emo kids turned out at least 500-strong to have their heartstrings yanked by the delicate piano melodies and subdued guitars that are Straylight Run.
However, if you happened to stroll past the Student Center Pit around 9:00 p.m., you would have been witness to the emotionally delicate crowd waiting patiently for this semester’s first Turned Up Tuesday act to take the stage. The holdup? They were, believe it or not, waiting for their fog machine to warm up.
Despite their foggy technical difficulties, and the 15 minute wait that it prompted, Straylight kept most of its onlookers in the Pit and on its feet. About half of the crowd stood gathered before the stage throughout the set, while the rest took to the Pit’s couches and balconies.
Like most acts that are capable of drawing a sizeable crowd, the band seemed a bit bewildered to be playing to a crowd that surrounded them on all sides. This didn’t stop vocalist/guitarist/pianist John Nolan from delivering a disappointing piece of news that would set the tone for the rest of the performance.
“I can’t believe how many people showed up,” said Nolan. “I probably shouldn’t say anything,” he then added, sounding a little embarrassed and anxious, “but we don’t have a set list.”
Perhaps he anticipated a warm response to the news that the entire set would be improvised. Maybe it was a weak attempt at a joke; because wouldn’t it be funny if this semester’s supposedly biggest Turned Up Tuesday act showed up without a set list from which to play? The crowd’s quiet reaction provided an adequate answer: no.
In a gesture that seemed to quell any unrest Nolan’s announcement may have caused, the band launched into “A Slow Descent,” from the EP they released just last October, Prepare to Be Wrong. The still-new song drew a warm response from the audience and the small matter of their missing set list seemed forgotten, if only for a moment.
In another moment, and many moments thereafter, it became obvious that Straylight should avoid playing unplanned sets. It also became obvious that although they were able to bring a big name to the Turned Up Tuesday stage, they weren’t able to bring an exciting performance.
The low key guitar and piano driven pop left much to be desired in the form of energy. The stage set up, equally mellow, featured bassist Shaun Cooper bathed in a green spotlight, Nolan—while at center stage—bathed in pink and his sister/vocalist/guitarist/pianist Michelle Nolan bathed in yellow.
Drummer Will Noon lurked somewhere behind them without a spotlight. At regular intervals he would shout something to his band mates, supposedly suggestions as to what they should play next. A disgruntled expression hinted that they weren’t taking his advice. If not Noon’s advice, the band should have at least used the set list-less night as an opportunity to do a set of audience requests.
To his credit, John Nolan’s singing was at times enthused and heartfelt. That so much sound can come out of his tight jeans-clad wiry body is a wonder in and of itself. In fact, his belting almost sent a poster advertising leftover Carlos Mencia tickets to the floor.
Halfway through the show, the band left John Nolan on stage to entertain the audience. He made his way through one song before going off stage to see if the band was ready to rejoin him. After being turned down, he returned looking a little miffed and sat down at the keyboard for his second solo act.
Before the band’s last song of the night, “Sympathy for the Martyr,” from their self-titled album, John Nolan chugged a can Red Bull. Unfortunately, the resulting burst of energy came entirely too late to save the gathered masses from what had been a performance unworthy of the hype that preceded it.
This upcoming week: A preview of “30 Years From Now,” a play by NY Director John Clancy
The following week: A review of “30 Years From Now”
