Jack’s Mannequin Spot-On In What Could Be Last Boston Appearance

Jack’s Mannequin
February 3rd 2012
House of Blues, Boston  

Short version: Jack’s mannequin played a show in Boston. They were great. They normally are. You should seem them live. But if you missed this show, you’ might be out of luck.

Slightly Extended version: On Friday night, Jack’s Mannequin brought down the house, again. They were making their first proper Boston appearance since the release of their third album, People and Things,  and with a history of memorable area appearances, everyone in attendance knew they were in for a great show. Just one question lingered, and likely won’t be answered for some time: was this the band’s final time playing in the city?

In a recently published interview with Andrew McMahon, the band’s frontman/mastermind had, in a vague, artist speak kind of way hinted that the band had run its course. He said the project wasn’t as enjoyable as it once had been, and it might just be time to move on. This didn’t come as a complete surprises when you considering McMahon originally intended Jack’s to be a one-off side project, and it was now going into its seventh year. Also, Places and Thing, despite being a solid album, didn’t receive the type of enthusiastic reception the band’s first two efforts had.

While McMahon didn’t acknowledge the future of the band during the show, and most in the crowd were probably unaware of these comments, those who did know realized this could be the end of something special. If this tour is indeed the last hurrah, the band demonstrated they plan to go out swinging.

The night opened with a set from Allen Stone (which I missed). Philadelphia three-piece Jukebox the Ghost then took the stage. Their forty-five minute set was relatively well received by the crowd, which at this point had already packed the House of Blues.

Jack’s Mannequin  kicked off their set with “Bruised” from debut album Everything in Transit. While the band had plenty of new material to show off, this older favorite had the crowd singing along so loudly McMahon had to battle to be heard.

While it quickly became obvious from the set list this was the People and Things tour, McMahon and Co. did a good job of mixing in songs from their first two records alongside new tracks such as “Release Me”, “Amy, I”, and “Amelia Jean.”

While these new songs didn’t receive quite  the reaction that many of the older tracks did, most of them were more impressive and packed more of a punch than they do on the record. McMahon has said that People and Things was recorded as more of a full band effort and less as a solo  project, and this seemed to benefit the group’s live show.  In an ideal world, the band’s performance of “Hey Hey Hey (We’re All Gonna Die)” and “People Running”  alone should boost sales of the new record by at least a few hundred copies next week. It probably won’t happen, but both of these tracks were show-stoppers.

Good record sales or not, McMahon’s stage presence is second to none. Even in a cavernous venue packed with 2,000 people, you couldn’t help but feel like he was playing you songs in his living room. The stage set up didn’t hurt, for the band was surround by household lamps and blue light bulbs suspended above the stage. At other times, two giant “mirror balls” (as McMahon described them) set the venue awash in light.

The rest of the band’s set didn’t feature any real curve balls. “Bloodshot” “Holiday From Real” and clos

to the encore, the band returned to the stage to perform the acoustic track “Restless Dream,” which they followed by “My Racing Thoughts” ( although I could be wrong on that one though).ing number “Dark Blue” all received huge reactions from the crowd, as they always do. Never ones to skimp when it comes
to do it.Finally, the band would bring the night to a close with “La La La Lie”, another Everything in Transit staple. Basked in confetti and “mirror ball” light, the band would make their way off the House of Blues stage for what very well could have been the final time. If this in fact was the last Boston appearance, going out with a superb set in front of an ecstatic sellout crowd isn’t a bad way

Jack’s Mannequin “Farther From the Earth Tour” Hits Boston

Jack’s Mannequin
Matt Nathanson
Erin McCarley
House of Blues Boston
April 27th 2009

Last November, Jack’s Mannequin paid a visit to the Paradise Rock Club, one of Boston’s smallest and most venerable venues.  On that night, Andrew McMahon and company put on a fantastic show, premiering a number of songs off their then recently released second record The Glass Passenger, while also mixing many of the favorites from their debut album, Everything in Transit. The intimate setting allowed McMahon to interact with fans throughout the night, and the crowd was as enthusiastic as any I had ever been a part of.  Obviously, it would be difficult for Jack’s Mannequin to top this performance on their next trip back to Boston, which took place at the House of Blues, a venue nearly four times the sizes of the Paradise. Somehow, the band, as well as the crowd, found a way.

The night began with a half an hour set up-and-comer Erin McCarley, who was well received by the sell-out crowd that had already packed the venue. McCarley chatted with the crowd between songs and finished her set with “Pony (It’s OK),” which has received recent airplay on radio and VH1.

Next up was Matt Nathanson, the Lexington, Mass. native who has seen a great deal of success with his recent hit single “Come On Get Higher.” While most of his songs were met with casual head bobs from the crowd, it was Nathanson’s R-rated banter between songs that was the highlight of his set. From calling out a group of drunk frat boys on the balcony to comparing one of his songs to “the scene where the guy carries the girl up the tree in Twighlight,” Nathanson had the crowd in stitches for most of his set. The highlight wasn’t “Come on Get Higher,” but a song that sounded like Rick Springfield’s “Jesse’s Girl.” Nathanson began the song by saying he had stolen it from Springfield and changed the lyrics, and was likely to segue into “Jesse’s Girl” at some point, at which time the audience better sing along. Once he got to this point,  most in the audience were happy to oblige.  Overall, Nathanson put on a thoroughly entertaining set  by making a connection with his hometown crowd, something that very few artists do well.

After a short 20 minute wait, the headliners appeared and began their set with “Crashin,” which received a luke warm reception that luckily wasn’t an indication of what the rest of the set would entail. Beginning with “The Mixed Tape,” McMahon, along with guitarist Bob Anderson, bassist Jonathan Sullivan, and drummer Jay McMillan put on one of the better performances I’ve seen in quite a while.

Most responsible for this was of course the band itself, which displayed a seemingly unlimited supply of energy throughout the night. When McMahon wasn’t pounding away at his piano, we was either on top of it, or working the crowd into a frenzy. Which brings me to the group second most responsible for the show’s success. The crowd, from the front row, to the balcony, to the back of the floor at the cavernous venue sang each and every word, sometimes even drowning out McMahon himself. The crystal clear sound at the House of Blues made for a huge improvement sound wise over their previous show at the Paradise, and the band’s light display, which included “confetti” produced by a huge spinning disco ball, created quite the visual spectacle.

While I normally like to take note of which songs sounded the best or received the biggest reception from the crowd, I can’t do that for this show, because almost every song would fall into the “amazing” category. If I had to choose two though, I would say “Bloodshot” and “I’m Ready” were the highlights of the show. The band would also include “Me and The Moon” from McMahon’s former band Something Corporate in the set, as well  full versions of “MFEO/You Can Breath” and “Caves,” both of which allowed McMahon’s songwriting and showmanship skills to shine. The set was ended with “The Resolution,” and “I’m Ready,” both of which had the crowd in a state of near hysteria.

After a very short time off stage, the band returned for a two song encore, featuring “Hammer’s and Strings,” a song McMahon dedicated to his friends. The show then came to a climatic end with “La La Lie,” just as the show at the Paradise had five months earlier. The crowd left the venue and streamed out on to Lansdowne Street elated by what they had just experienced. This was my third time seeing the band in the past year, and I can honestly say they are one of the best live acts in the business today.

Set List:
Crashin
The Mixted Tape
Spinnin
Swim
I’m Ready
Holiday From Real
Bloodshot
Me and the Moon
Dark Blue
MFEO/You Can Breath
Caves
The Resolution
Bruised

Hammers and Strings
La La Lie

Top Ten Records of 2008

I’ve always liked “Best Of” lists, but I’ve always had a lot of trouble compiling my own. In 2005, I made a list of the year’s 25 best records and gave a reason why for each. I’m not nearly that ambitious anymore, and I certainly didn’t hear 25 albums worthy of making such a list this year. That is why I’m going to present you with my Top Ten of 2008. I know, they are completely subjective and you might think all of these records such, but  that’s ok, because everything on this list captured my imagination and reminded me why I still buy cds,  at least for a little while. So here they are:

1) The Gaslight Anthem, The ’59 Sound. Simply an amazing record that captures the spirit of Bruce Springsteen, modern day punk, and everything in between.

2) Fall Out Boy, Folie a’ Deux. It’s hard to justify putting a band like Fall Out Boy on this list, but they’ve simply never let me down. Folie a’ Deux is pure genious.

3) The Matches, A Band in Hope. The most creative and original band I listen to somehow manages to “out-weird” their previous efforts.

4) Alkaline Trio, Agony and Irony. Openning track “Calling All Skeletons” is easily my favorite of the year. I listened to this record non-stop all summer.

5) The Academy Is… Fast Times At Barrington High. Never would I have though this band would make it’s way on to a list like this after their laughable last record, but Fast Times was the biggest and most pleasant surprise of the year.

6) Bayside, Shudder. Classic Bayside.

7) Jack’s Mannequin, The Glass Passenger. I still haven’t decide if I like this or their debut record better, but both are excellent.

8. Funeral For A Friend, Memory and Humanity. The band’s top-notch guitar and drum work is aided by pristine production and Matt Davies’ simple yet supurb song writing skills. This record is a huge step back in the right direction after 2007′s disapointing Tales Don’t Tell Themselves.

9) Coldplay, Viva La Vida or Death And All Of His Friends. I never liked Coldplay in the past, but this record changed that instantly. It’s refreshing to see a band achieve the success that they deserve.

10) Valencia, We All Need A Reason To Believe. This is one of those records that, on the surface seems like another happy and upbeat pop-punk record, but on the surface turns out to be much darker.