Not heroic but I try.

My first memory of Glen Hansard was of him lying on his back on the stage of Beacon Theatre, singing "Star Star," in hopes that audience would get the idea of just what the song was about. And it was the last song of his set before Damien Rice took the stage, and although I was chomping at the bit for Rice to come on stage, I fell in love with Hansard and his music. Hansard has always had this incredible warmth and charisma on stage (and elsewhere, quite frankly) that makes it seem like his shows are rather intimate affairs, no matter how many people are in the crowd. He truly is a personality, gracious and humble and yet, a definite rock star (in a broad sense of the term). I've seen a lot of concerts, it's true, performed by a lot of very talented people who put on great shows, but I haven't found too many who have that special mix of talent and personality, all the while putting on a great, great show.

Until last night.

(And full disclosure, this is a pretty biased review. And if you've read this blog, you'd know that.)

Well, about three years ago I blindly went to see Frightened Rabbit. I barely listened to them, and I don't even think I knew what they looked like. I enjoyed them, certainly, but only as much as a person could possibly enjoy a band she doesn't listen to (except if they're The Felice Brothers, of course). They certainly didn't blow me away. Not like The Felice Brothers.

This time around was different, and look, I'm not going to get into details. We all know I've basically listened to only Frightened Rabbit in 2013. All I've heard was how great they are live (but let's be real, nobody's out there writing articles about bands saying, "eh, they're pretty disappointing live," even if I wish they were) and yet, I wasn't sold. I know this is a bizarre thing to say about one of your favorite bands but I can't quite figure out what it is about FR's music that makes them so fantastic. I can name about a half a dozen bands they remind me of but they're still so great. Something sets them apart from everyone else, I just can't put my finger on what. However, I wasn't so sure they could be an incredible live act. I was actually kind of expecting them to sound just as they do on their records.

Haha, Alyssa, you are silly.

And perhaps the fact I am so into them right now has something to do with how much I enjoyed last night's show but wow, were they impressive. They do an amazing job of really elevating their songs for a live setting (as evident by "Backwards Walk"). A carbon copy of the record, their live shows are not. Apparently last night was their biggest show ever (or in the US?) and the whole band seemed to be having a lot of fun on stage, looking really pleased to be there. If you're not having fun, why should we, right? And it's always really exciting to be in a crowd of people who seem to love the music as much as you, who sing every word to every song and seem genuinely happy to be there. (In the indie world, that's unfortunately a rarity.) I always talk about collectivity at shows and that's exactly what I felt last night. And not to get all sentimental but during "Acts of Man," which is THE song that made me go, "hey, this band is pretty great," I had what my friend called "a moment." During which I just had to stop singing along because I was like, "hey, what is going on? What is this? Emotion?" (And what a song to get emotional during, eh?) And I don't mean I was crying (I don't cry during concerts. Unless it's during "Thousands are Sailing.") But it has been a long, long time since I went to a show this good. That left me floating on air and incredibly happy. And what was better was the fact that the two people with whom I went, who weren't very big FR fans beforehand, left the show absolutely blown away.

What does this have to do with Glen Hansard?

Well, let's end this post with a conversation about Scott Hutchison. I've always thought he was a great lyricist and I've grown to really like his voice but after last night, we are talking Glen Hansard levels of respect and admiration. It is refreshing to see a frontman with as much personality as Hutchison. Look, I don't need you carrying on a fifteen minute monologue up there but you know, say something to the crowd, won't you (looking at you, Bejar). I find it alienating when an artist gets on stage, plays for an hour twenty, and mumbles his or her way off the stage. It definitely makes me not want to give him or her anymore of my money. But Hutchison definitely has personality and charm and he's loads of fun to watch. As I mentioned above, he looks like he's having a lot of fun up there (he also seemed very humbled by how big the crowd was), so you just can't help but having fun yourself. There are a lot of indie bands out there that do not have their shit together, that really have no business getting on stage (looking at you, DIIV), or simply just do not seem like they want to be on stage. A lot of bands out there are just kind of hyped by all of the blogs and actually kind of well, suck. And this is nothing new, and I'm not going to sit here and tell you you should stop listening to someone like Best Coast but it's always great to watch a band who can really perform and who actually deserves your hard earned money. 

I gave up listening to Andrew Bird for Lent. And I lived to talk about it.

As the title suggests, I did indeed give up listening to Andrew Bird for Lent.

I don't know why I did it. Mostly because well, I'm not religious. I am not a fan of the Catholic Church, or any organized religion, anymore, and haven't followed Church doctrine in it at least seven years. But because I like attention, I told everyone, "Guess what I'm giving up for Lent? Listening to Andrew Bird!"

I find it difficult to really get sick of Andrew Bird's music because there's so many layers, so many things to discover with every listen. I often binge on him, and get in these moods where all I want to listen to is live versions of "Lull." I may fall in love with other records by other artists every so often, and I've binged on other artists throughout the years but it always, always comes back to Bird. (Not to mention, the man has a lot of music. It's not difficult to not get sick of him.)

But other than a few "oh, I want to listen to [insert song title here]" thoughts as they came up on shuffle on my iPod, I can't say I really felt like I was missing something. And why? Well, Lent started on when, February 13? And Pedestrian Verse was released...when, February 5? I think we figured out why. I often joked that I do listen to artists other than Andrew Bird, I just don't like anyone else. Congratulations, Frightened Rabbit, I like you too. I realized it when I had a bit of a overly-dramatic moment, complete with tears, and thought, "I just want to listen to 'The Loneliness and The Scream' over and over again." Andrew Bird's music wasn't the only thing that could possibly make me feel better. I'm not sure if I've ever had that reaction to another artist. Anyway, thanks to those scruffy fellas from Scotland, I made it through Lent (with "Old Old Fashioned" in my head).

What else did I listen to over the forty days?

Did I mention how much I like Frightened Rabbit?

No, no, I'm kidding.

I re-discovered Frank Turner (not so much re-discovered but gave him another chance) who is not only a lyrical genius with a brilliant voice but he reminds me of The Pogues. And anyone who reminds me of The Pogues is fantastic in my book.

And who else?

Hum.

Well, I like the new Youth Lagoon record, even though I think it's incredibly long and the vocals aren't the most pleasant thing to listen to (but my opinion could change, i.e. Dan Bejar). I do like parts of the Phosphorescent record, and I like the new Cloud Cult too, even though I'm not blown away. I have a feeling I am going to really love it after I see them live but right now, it's tough to want to revisit it.

I actually attempted to listen to a bunch of other records, some of which I just turned off after a song or two. The one that sticks out most in my mind is the new Josh Ritter record. What a disappointment. I couldn't even get through it all on two separate listens. And he's one of my favorite songwriters. It got great reviews for the most part but I just found it so boring. Maybe in time I'll learn to really like it (even though it's not on Spotify, which is aggravating) but right now, it's not for me.

I don't think my inability to enjoy a lot of this new music has anything to do with my "WHEN CAN I LISTEN TO 'THE TWIST' AGAIN?" attitude. Or maybe it does. The real test is really whether or not I want to listen to Andrew Bird again. I listened to "Fitz and the Dizzyspellls" and "Souverian" this morning but I'm not clamoring to listen to all of Noble Beast. In fact, I'm currently listening to Liver! Lung! FR!

But knowing I can listen to "Anonanimal" again just makes me happy.

I really fucked it up this time, didn't I my dear?

Can we talk about earnestness for a moment?

Yes, this is in response to that Stereogum article. Which upon my first reading of it, I felt a little too defensive about Frightened Rabbit. With a second reading, I realized that the whole damn thing was so dumb. If I had to compare Frightened Rabbit to someone else, which I HATE doing (in general, not just with FR), I would never, ever put Mumford and Sons on the list. And not just because I think that FR's music is way more complex than Mumford's (i.e. FR's songs don't all have the same damn structure, and they don't all sound the same) or because Scott Hutchison's lyrics are pretty amazing, whereas Marcus Mumford's are well, let's all face it, they are trite bullshit ("there's no drink or drug I've tried to rid the curse of these lover's eyes?" Jesus Christ. I can see Mumford's rhymes from a mile away) but because they honestly don't sound the same. Sure, FR employs some of the same folk influence as Mumford, but why even put the two bands in conversation with each other? Because they're all a bunch of white dudes from the UK? It's not even fair. Let's stop doing it. And let's also stop acting like all bands want to be Mumford and Sons. Sure, they are the biggest band in the world right now but do you really think a band like oh, I don't know, Calexico, want to be Mumford and Sons? Maybe they want their success, sure, but it's ridiculous to act as though Joey Burns is bemoaning the fact he didn't write a song like "Little Lion Man."

(Side Note: I didn't use FR and Scott Hutchison for this analogy because I think we all know that he does not wish he wrote "Little Lion Man.")

Anywho, the Stereogum article sort of came off as the writer just well, bemoaning the fact that a lot of people like Mumford and Sons, and not enough people know about FR. And yes, it is aggravating. But the article also brought up the idea of earnestness, and what makes FR more earnest than a band like Mumford, or The Lumineers, or The Avett Brothers. Well, for one, those three bands, a long with Edward Sharpe, Ray LaMontagne, etc. present a sort of aesthetic that for me, seems forced. And it seems forced for the simple fact that I came up with a list of five acts off the top of my head that are subscribing to it (and I can certainly come up with a few more). And look at the last American Idol winner; sure, Phillip Phillips has a nice voice, and I do like that song "Home" but there is nothing more manufactured than an American Idol winner. And someone manufactured him into a Mumford and Sons clone. And I can be realistic, and I realize that something like "I Will Wait" or "Ho Hey" or "Home" (I mean that Edward Sharpe song) is a lot easier and more fun to sing along to than say, "Keep Yourself Warm" or "The Woodpile." Those other songs are jauntier, they are bouncy, you can clap your hands and stomp your feet and I'm sure people feel good about themselves after dancing/singing along to it at a concert. Sure, "Old Old Fashioned" and "Swim Until You Can't See Land" and "Holy" are incredibly catchy too, but maybe mainstream audiences don't want to sing along to lyrics that are abrasive, and self-deprecating, and kind of dark and angry. People like fun music (as evident on people's Facebook profiles). And can we all agree that Hutchison's lyrics are far denser than "I belong with you, you belong with me in my sweet heart" or "I will wait, I will wait for you" or "home, let me go home, home is wherever I'm with you?" His lyrics are the best thing about his band, and I am practically insulted that Stereogum is comparing that lyric from "Acts of Man" to that ridiculous one from "Little Lion Man." The bottom line is people like catchy ear worms, not something they have to devote actual attention to in order to fully appreciate.

So, why do so many people think "I really fucked it up this time, didn't I my dear" is disingenuous? I mean, I realize that I never question Hutchison's genuineness. Or his earnestness. Maybe because his lyrics are so honest and self-deprecating and most likely kind of off-putting to people (perhaps we have an answer to why FR isn't bigger than they are) and they never seem forced. Sure, they are a downer sometimes ("I'm dying to tell you that I'm dying," anyone?) but I've always accepted them as genuine. Because you can't force something like "let's pretend I'm attractive and then you won't mind." But what about those Mumford lyrics? Why don't people buy it? Why do they come off as though some child just learned to use swear words (albeit quite poorly)?  I don't have the answer to those questions. Perhaps it has to do with that aesthetic I was talking about earlier. If their sound and image come off as forced, then anything they present in their lyrics is going to feel forced too. Or perhaps its their popularity. It's harder to find genuineness and earnestness and something like self-deprecation in music that is enjoyed by the masses. Why even attempt to be genuine when you're making millions? What's the point? People like Mumford's sound, and do you think all of those people filling up arenas to see them give a shit about what they're singing along to? These are the people who made "Gangnam Style" a major, obnoxious, hit. I'm not saying Marcus Mumford isn't trying to be genuine but it's easier to accept he isn't than accept he is.

I guess the point is it's not hard to figure out why Mumford and Sons is popular. Or why there are so many bands trying to capitalize on their success. But we can keep scratching our heads as to why Frightened Rabbit aren't more popular. They just...aren't. But I think we can all agree that there is no reason why something like "The Woodpile" or "Backyard Skulls" couldn't be part of the public consciousness.

Or we all go back to listening to Frightened Rabbit and enjoying them and let everyone else listen to Mumford and Sons. Do you really want FR to become insufferable, annoying twats?

(Also, can we stop talking about The Winter of Mixed Drinks as though it is the worst album to ever be released? Because it's not. Because if you gave it to someone to listen to before he or she ever listened to The Midnight Organ Fight, which is what happened to me, he or she would probably really enjoy it. Even think it was great. On it's own, it's a strong album. Sure, a bit sanitized but "The Loneliness and the Scream," "Things," "Skip the Youth" are all great songs. Maybe the generalities of the lyrics didn't work, and maybe it feels a bit too produced but c'mon. Stop shitting all over it.)

I have never wanted more to be your man and build a house around you.

Every year, I seem to find my January.

What? You don't know what a January is? Don't you have Januaries of your own?

I didn't initially go out seeking my Januaries and they began back in January 2009 when Noble Beast was released. It wasn't mad love at first listen but something about it was so compelling, and it made me want to keep listening to it, over and over again. Then came Armchair Apocrypha, and the rest, as they say, was history. I don't think I need to explain to ANYONE how much I like Andrew Bird.

In January 2010, I started listening to The National. Unlike Bird, I had never even heard of The National before I heard "Fake Empire" for the first time. Again, it wasn't love at first listen but I waited for the click and finally, I fell in love. I ended up buying a bunch of their records and saw them twice that year. I developed a bit of an obsession that has since subsided but 2010 was all about The National.

And then, of course, Destroyer's Kaputt was released. My favorite record of 2011. Destroyer was my favorite artist of 2011 (erm, well, until I discovered Feist in October). I never liked Dan Bejar before that record, I mean, I really could not stand his damn voice but after Kaputt, I became obsessive, consuming all of his music. And I mean, could you blame me? He is a bit of a genius, right? (I guess the obsession hasn't really subsided. Oops.) Nobody was better than Destroyer for me in 2011.

(2012 really didn't have a January because the first quarter of that year was devoted to Andrew Bird. It's hilarious when I think about how much new music I discovered during the second half of last year when I had basically played out Break It Yourself.)

And now, what about 2013?

Well, everyone, I've developed a big Frightened Rabbit problem.

I've actually been a casual Frightened Rabbit fan for about two and a half years now (I've even seen them live) so they're not exactly a new discovery. I've always been in their corner, I've always rooted for them. But I've always sort of described them as Snow Patrol with better lyrics (I'll have you know I really like Snow Patrol). They're a good band but nothing special.

Or so I thought.

They've just released a new record Pedestrian Verse and thanks to the glowing review on AV Club, I decided to check it out. (Truth be told, I would've checked it out anyway.) And I need to let you know that it is fantastic. Really, really fantastic. Like...that's all I've listened to for about a week. And the only other things I've listened to other than Pedestrian Verse are The Midnight Organ Fight and The Winter of Mixed Drinks. Frightened Rabbit's music has this quality that sneaks up on you; you listen to it and it doesn't sound special at all (I likened them to Snow Patrol meets Bell x1) but then you find yourself really paying attention to the lyrics and you say, "goddamn." Because Scott Hutchison's lyrics are fantastic. I find myself catching a line and having to replay the whole song because I need to hear the entire verse over again.

Look, I really like my music to either have a theatrical quality to it or to be spacey electronic shit, and I have in the past just said, "I'm over the whole bass-drums-guitar thing" (aka 99% of bands but I'm a pretentious jerk sometimes) but sometimes music doesn't have to be elaborate. It doesn't have to difficult or esoteric or a "grower" (oh, but I love esoteric "growers," I do). It can just be good. And that's all Frightened Rabbit are. They are good. They make good music and they are a good live band and they have been making my ears so damn happy. I want everyone to listen to them so in a year, they can win Grammys and sell out the Barclays and I'll say, "Well, remember that time I won tickets to see them like three hours before the show? Ah, memories." And I'll be happy for them. With reservations.

I suppose if it comes to that, they'll stop writing lyrics like "it takes more than fucking someone to keep warm." And that would be a tragedy. Okay, everyone can listen to them but be very secretive about it. Start a Frightened Rabbit Fight Club.