Word: crowding
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Dates: during 1990-1999
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...singer (and guitarist) Dean Wareham, so soothing and haunting on recordings, was reduced to a nasally twang straining to hit the top notes. While this may have been part of the band's charm, I found it difficult to listen to and rather annoying. The sedentary nature of the crowd was also unnerving. While Luna is not a band to which one dances madly, sitting down and occasional nodding meant the excitement inherent in concerts was absent...
...Sadly, the crowd's overt apathy extended unfairly to the opening band, Gorky's Zygotic Mynci. The band's Welsh nature and English pop sensibilities (crafted in the tradition of late-'60s Beatles or Beach Boys) were mostly lost on a polite but uninterested audience. Touring in support of their latest release Spanish Dance Troupe, the band played their heart out. Highlights included the raucous "Poodle Rockin'" and an acoustic interlude, complete with the soothing violin of Megan Childs. The band put on a good, energetic show, and it was sad to see the chilly reception for most...
...next band, North House, was a more dynamic presence. The crowd grew visibly larger (a quick head-count indicated about 80 to 90 souls) to see the show's main act and North House did not disappoint. Playing in the place from which they derived their name, North House, led by Al Bennett '00 (founder of the QSS), possessed an uncanny ability to work a crowd, with Bennett entering beating two drumsticks together to stir up noise. It was a polished stage act; more than that, it showed talent. Bennett's voice and the clear, crisp sounds of his guitar...
...cover of Nirvana's "Smells Like Teen Spirit" inspired manic pogoing among some of the faithful who had remained, even though their sped-up version lacked any of the slow, simmering moments that had made the original so menacing. Perhaps it was McCottry's intensity: he jumped into the crowd, as well as fell to the floor with the mic. But eight people do not a mosh pit make and here, perhaps more so than any other point in the show, the thinness of the crowd detracted from any attempts at a rock-festival feel...
...contrast to the multitude of instruments on display, it took just two turntables and two microphones to make for what was perhaps the evening's highlight. Only about half the crowd had stayed for the closing performance, by freestyle rap duo Scott & Chiqui (comprising Scott Roy '99 and Chiqui Matthew '00, with Tyler Wood '01 as turntablist), but as the duo called the audience forward, it became clear that the wait was worth it. Roy and Matthew's rhymes flowed smoothly, and their old-school touches (human beatbox effects and a strong effort at turntablism). Perhaps the best display...