August 18, 2012
While I take no credit, I would just like to begin by saying I had thought up this lineup in my mind about 5 years now. Though nothing and no one outside of my sonic daydreams would have ever imagined it taking place, on this day, Viva Viva, Boston’s greatest and grittiest rock band, shared a bill with the two greatest femme fatales of the past two decades. Jennifer Herrema (of the Royal Trux, RTX and currently Black Bananas), and Alison Mosshart (of the Kills), each representing rock n roll to the fullest, sexiest and most dangerous extent, joined Viva Viva, as Black Bananas and the Kills shared a billing on the Chelsea Pier– outdoors and on the Hudson River– nothing could be better.
The Royal Trux were, and still are, my idea of rock music in its most volatile form. And that could very well be why they broke up so long ago. The Kills followed closely in their footsteps once the Royal Trux had retired, and satiated the void in many ways. An art-rock two-piece, the two had a chemistry and mystique that couldn’t help but draw comparisons to the previously mentioned. If I listened to three bands five years ago, it was these three. And while they played a mixtape playlist in my foggy mind, no one could have ever imagined that a show featuring all three of these acts could or would possibly ever happen.
But thanks to a shoe company and an image founded by Chuck Taylor (whoever that is), a bunch of in-house promoters with good and edgy taste found a way. The concert of my daydreams was about to take place. Known as City Carnage, Converse came through with the perfect billing.
Converse had learned about Viva Viva down in Austin and gave them the opportunity to record at the company’s Rubber Tracks studio in NYC. After documenting the experience, photos of the band’s studio time appeared in Filter Magazine, only adding to the excitement of the endeavor. Though Converse probably didn’t know it at the time, the shoe company ranks right up there with Marlboro and Jack Daniels as one of the three most important and patronized companies in the life of singer/guitarist Chris Warren. I’m pretty sure the only sneakers he’s worn in the past 20 years have been Chucks. Another special and random unacknowledged link to the personnel in this show is the fact that Dave Vicini (Viva Viva frontman) and Alison Mosshart (of the Kills) have crossed paths before when their teenage punk bands, Boxer and Discount, played shows together in the early 1990’s.
Viva Viva started off the show, and took the stage shortly after 6pm. The weather forecast had called for rain, and lots of it, but the unexpected blue skies provided a perfect backdrop for the outdoor show on the Hudson.
Focusing on some of their newer material from their upcoming EP, Dead in Your Tracks, the band also touched on key points of their previous work and made the most of their 30 minute set. Ending with “Sympathy for the Devil’s Little Helper”, Viva Viva paid a loose tribute to their heroes with allusions to the rock n roll’s past.
Next up was Black Bananas. Led by Jennifer Herrema, the infamous front woman of the now defunct Royal Trux, Herrema’s new band is very similar to her first post-Trux band, RTX, and even enlists much of the same personnel.
Today they performed as a truncated 3-piece with Herrema on vocals, a guitarist, and an effects player to make up for the absence of a drummer– and to distort just about everything to the point of mental and decibel overload.
Looking around it seemed not many recognized the rock n roll royalty on stage and the band’s bombastic futuristic stoner beach metal sound seemed to perplex and overwhelm more than it stunned and amazed.
While the recent release of the boldly and strangely titled, Rad Times Xpress IV, is a headphone and drug masterpiece, it seems like the album would be almost impossible to replicate in this park-like setting… and so was the case. Nevertheless, the set was rock n roll in every way. Jennifer has thrown her lo-fi junk punk away and replaced it with a vocoder overload, resulting in a heavy, sexy merger of drugs and technology.
Still the pinnacle of rock frontwomen, Herrema’s mixture of disenchanted cool and commanding stage presence still presents a powerful prowess that has only gotten better with time. And when it comes to style, I can only say it seems she’s still wearing the pants she wore 15 years ago, and together with a huge furry tail and scarecrow flophat, her demeanor wasn’t even close to being trumped by the seemingly unironic dollar bill print pants of the long-haired effects player.
After an extended lull, the skies grew dark as the place tripled in capacity to await the Kills—and every second that passed in anticipation was surely worth it. Jamie Hince and Alison Mosshart took stage with a small army of anonymous standup drummers wearing stick-up style bandanas. Well choreographed and unexpected, they provided an added depth to the duo’s usual drum machine backing, without taking away from their amazing onstage chemistry. The live percussion army tonight marked the first time I’d seen additional members play with the Kills in the many, many times I’ve seen them.
The band began with a great and welcomed version of “No Wow” from their sophomore record and followed by working their way through several tracks on their newest record, Blood Pressures. Thankfully, no era of their catalogue was ignored. They played “URA Fever”, “Kissy Kissy”, “Satellite”, “Tape Song”, and touched upon several other highpoints of their 4 album and EP discography.
Retaking stage for their encore, they began with “The Last Goodbye”, and though it seemed like a proper finale, the Kills continued by dedicating “Fuck the People” to the recently imprisoned Pussy Riot– and for an extra special treat the two went straight into “Monkey 23”, a true deep cut, a rarity in their live set, and perfect execution of two back-to-back tracks on their debut record.
That was that. Three bands playing together, bound beautifully by the bonds of decadence in the city where anything is possible… even the unsuspecting show of your dreams.