articles
Yeah Yeah Yeahs
from volume 01 issue 06 // Michael Rabinowitz
October 11, 2006
The State Theater
October 13, 2006
Hard Rock Live
Words: Lily Richeson and Michael Rabinowitz
Photos: Stephanie Sanders & Michael Rabinowitz
"Everyday is Halloween for the Yeah Yeah Yeahs!" shouted a mummified Karen O. next to her ghoulishly dressed guitarist Nick Zinner, wigged drummer Brian Chase, and guest musician Imaad Wassif. The crowd falls for her immediately and the show gets to an energized start.
Around 3pm, October 11, myspace.com threw one of their infamous secret shows. This time New York based band the Yeah Yeah Yeahs were gracing the stage, which was seemingly tiny for the band that hasn't played a venue that small in several years.
People lurked around The State Theatre for hours waiting for a neon wristband, limiting attendance to an exclusive 600. Karen O. herself was lurking around too, browsing through some of the local shops and kind enough to sign and pose for pictures with the few fans that spotted her.
In no time at all, the keyed up front-girl made a stage entrance not even Gallagher himself could top by graciously splattering the first row of audience members with fake blood. The band broke into newer
hits like "Gold Lion" yet, left some in tears with the intimate acoustic version of "Maps." The set was enough time to leave you wanting just a taste more, when they encored with "Date with the Night" getting every one pumped up all over again.
Awaiting the gaggle of people leaving the venue were complimentary screened posters marking the memorable night. It leads one to think that sometimes the best things in life really are free.
A few days later in Orlando, the proceedings were considerably less bloody. Dressed as a slutty space age harlequin, Karen O. progressively stripped down to a yellow and purple unitard, offering the crowd more flesh than nylon on her torn tights.
A single spotlight from the stage floor painted her in a low tech CBGB post punk chaos, like a fallen lamp in your parent's living room, in a high school party gone horribly awry. Like Patti Smith, PJ Harvey, and Chrissie Hynde, Karen O. has become quite adroit in portraying the wounded beast; whether in the gender-reversing role of "Pin," the power of the male chromosome in "Y Control," or the feminine myth of monogamy in "Cheated Hearts."
Like a (gold) lioness, she ignited a cry with anger and ferocity but then just as easily, with a defiant hand on the hip, turned into herself into a preening nine year old on such ballads as "Dudley" and
"Warrior." She book ended these moments of naïveté with explosive screams (and androgynous looks) worthy of Marilyn Manson. Then, while arching her back, between songs, she sprayed water into the air, showering herself. A little too Flashdance for me, but it made for a great silhouette.
Grumbling from the YYYs’ fan base followed their sophomore release of Show Your Bones, that it was not hard enough as Fever To Tell, that the Spiegel clan held her back during recording. Seeing her live, there is no difference in Karen's O. demeanor when alternating between albums. She acts just as batshit crazy for either album. Obviously free from the confines of a studio, Karen O. unleashes a fury unheard on Show Your Bones. The result was a guttural performance that is as much comical (she makes a great Mary Catherine Gallagher "Superstar!" impression) as rapture. The visceral nature of it often overshadowed the talents of Zinner on his sumptuous Kashmir guitar licks of "Phenomenon" or the James Bond-ish hooks of "Y Control." Meanwhile, the plucky Chase barely registered a pulse while power snaring his way through "Honeybear."
Karen O. piled on the theatrics further with the YYY's signature song, "Maps." "Wanna hear a love song?" she asked. "From the Yeah Yeah Yeahs to you?" Here, Zinner worked with her in gracious tandem. As she offered the lyrics "wait, they don't love you like I love you," his guitar pined the same pleading.
Not that I expected anything less, but Karen O. lived up to the "Phenomenon" hype and, despite limiting her typical insalubrious performances for obvious health reasons, she proved consistently to be "bigger than the sound."
The State Theater
October 13, 2006
Hard Rock Live
Words: Lily Richeson and Michael Rabinowitz
Photos: Stephanie Sanders & Michael Rabinowitz
"Everyday is Halloween for the Yeah Yeah Yeahs!" shouted a mummified Karen O. next to her ghoulishly dressed guitarist Nick Zinner, wigged drummer Brian Chase, and guest musician Imaad Wassif. The crowd falls for her immediately and the show gets to an energized start.
Around 3pm, October 11, myspace.com threw one of their infamous secret shows. This time New York based band the Yeah Yeah Yeahs were gracing the stage, which was seemingly tiny for the band that hasn't played a venue that small in several years.
People lurked around The State Theatre for hours waiting for a neon wristband, limiting attendance to an exclusive 600. Karen O. herself was lurking around too, browsing through some of the local shops and kind enough to sign and pose for pictures with the few fans that spotted her.
In no time at all, the keyed up front-girl made a stage entrance not even Gallagher himself could top by graciously splattering the first row of audience members with fake blood. The band broke into newer
hits like "Gold Lion" yet, left some in tears with the intimate acoustic version of "Maps." The set was enough time to leave you wanting just a taste more, when they encored with "Date with the Night" getting every one pumped up all over again.
Awaiting the gaggle of people leaving the venue were complimentary screened posters marking the memorable night. It leads one to think that sometimes the best things in life really are free.
A few days later in Orlando, the proceedings were considerably less bloody. Dressed as a slutty space age harlequin, Karen O. progressively stripped down to a yellow and purple unitard, offering the crowd more flesh than nylon on her torn tights.
A single spotlight from the stage floor painted her in a low tech CBGB post punk chaos, like a fallen lamp in your parent's living room, in a high school party gone horribly awry. Like Patti Smith, PJ Harvey, and Chrissie Hynde, Karen O. has become quite adroit in portraying the wounded beast; whether in the gender-reversing role of "Pin," the power of the male chromosome in "Y Control," or the feminine myth of monogamy in "Cheated Hearts."
Like a (gold) lioness, she ignited a cry with anger and ferocity but then just as easily, with a defiant hand on the hip, turned into herself into a preening nine year old on such ballads as "Dudley" and
"Warrior." She book ended these moments of naïveté with explosive screams (and androgynous looks) worthy of Marilyn Manson. Then, while arching her back, between songs, she sprayed water into the air, showering herself. A little too Flashdance for me, but it made for a great silhouette.
Grumbling from the YYYs’ fan base followed their sophomore release of Show Your Bones, that it was not hard enough as Fever To Tell, that the Spiegel clan held her back during recording. Seeing her live, there is no difference in Karen's O. demeanor when alternating between albums. She acts just as batshit crazy for either album. Obviously free from the confines of a studio, Karen O. unleashes a fury unheard on Show Your Bones. The result was a guttural performance that is as much comical (she makes a great Mary Catherine Gallagher "Superstar!" impression) as rapture. The visceral nature of it often overshadowed the talents of Zinner on his sumptuous Kashmir guitar licks of "Phenomenon" or the James Bond-ish hooks of "Y Control." Meanwhile, the plucky Chase barely registered a pulse while power snaring his way through "Honeybear."
Karen O. piled on the theatrics further with the YYY's signature song, "Maps." "Wanna hear a love song?" she asked. "From the Yeah Yeah Yeahs to you?" Here, Zinner worked with her in gracious tandem. As she offered the lyrics "wait, they don't love you like I love you," his guitar pined the same pleading.
Not that I expected anything less, but Karen O. lived up to the "Phenomenon" hype and, despite limiting her typical insalubrious performances for obvious health reasons, she proved consistently to be "bigger than the sound."
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