Assisted at first by a pair of horn players, the musicians seemed almost dwarfed by the massive proscenium for a song or two. It didn’t take long, though, for them to grow into it, Bryan Devendorf’s relentless drumming lifting the songs as singer Matt Berninger grew increasingly intense. He staggered around the stage at times between lyrics, as if shouldering the heavy weight of memory or melancholy or whatever it is he feels when he inhabits those songs in concert.

The rest of the band supplemented his rumbling baritone with vocal harmonies here and there as they blended guitar, piano and driving bass lines on songs from the band’s new album, “High Violet,” and a broad selection of older tunes.

Soon a string quartet joined The National, adding a sweetness of tone to “Squalor Victoria” as Berninger doubled over, howling the refrain. Annie Clark of St. Vincent joined them to sing harmony and play piano on a searing version of “Vanderlyle Crybaby Geeks,” and when Sufjan Stevens came on to sing wordless vocals with Clark on “Afraid of Everyone,” there were 14 people on stage creating a lush, full sound.

That number fluctuated from song to song, not least because Berninger embarked on various incursions into the crowd. He walked about halfway back in the orchestra section during “Abel,” climbing on a seat to sing as he faced the rest of the band on stage. He went one better during “Mr. November, the middle tune in a three-song encore, venturing up the sort of ledge running from the front edge of the stage to the first balcony section, which he climbed across, microphone cord trailing him the whole way, and walked down the other side.

By the end of the hour and 45 minute show, the band had conquered the vast expanse of Radio City Music Hall, and the soaring space felt for a few moments like one of the cozy clubs on the Lower East Side where the band got its start.

The Antlers opened the show with a set of atmospheric rock songs that sounded huge and imposing on the giant stage.

— Text by Eric R. Danton, photo by Keith Klenowski

Set list: “Mistaken for Strangers,” “Anyone’s Ghost,” “Bloodbuzz Ohio,” “Brainy,” “Secret Meeting,” “Slow Show,” “Squalor Victoria,” “Vanderlyle Crybaby Geeks,” “Afraid of Everyone,” “Little Faith,” “Available,” “Conversation 16,” “Apartment Story,” “Abel,” “Daughters of the Soho Riots,” “England,” “Fake Empire.” Encore: “Runaway,” “Mr. November,” “Terrible Love.”

The band made its second-ever stop there Tuesday at the Pearl Street Nightclub with a set that included a handful of new songs from forthcoming album “Heaven is Whenever” and an inspired selection of older tunes. (The Hold Steady’s first show there came Dec. 15, 2006, in the smaller club room downstairs.)

It was the fourth show on the band’s spring tour, which means the Hold Steady is just hitting its stride. Sure enough, singer Craig Finn was especially animated during the 90-minute set, sputtering and spitting his wordy vocals, waving his arms around and mouthing the words at the crowd when he wasn’t delivering them into the microphone. (It probably helps that he had family members in the audience — his parents are both from western Mass., and he was baptized in a now-shuttered church in Northampton.)

He and guitarist Tad Kubler high-fived after their guitar harmony part to close first song “Hornets! Hornets!” and Finn watched admiringly as Kubler ripped out a solo on his red double-neck guitar “Lord, I’m Discouraged.” The band, including new members Steve Selvidge on guitar and Dan Neustadt on keys, sounded just a bit more at home on new songs, including “Hurricane J” and “Soft in the Center,” than they did Saturday night in New Haven.

There was no wasted time — the band got up and rocked out, barely pausing between some songs and not pausing at all between others — the searing coda to “Stevie Nix” about-faced into the taut guitar riff powering “Hot Soft Light.”

The Hold Steady ended its main set with “Slapped Actress” from 2008’s “Stay Positive,” the crowd singing along on the wordless vocal refrain after the music cut out at the end. The band returned for a three-song encore that started with a see-saw beat on new tune “Barely Breathing,” then barreled through “Stay Positive” and into “Your Little Hoodrat Friend.”

Set list
1. Hornets! Hornets!
2. Hurricane J
3. The Swish
4. Magazines
5. The Weekenders
6. Navy Sheets
7. Banging Camp
8. Massive Nights
9. Soft in the Center
10. Chips Ahoy!
11. Constructive Summer
12. Multitude of Casualties
13. Rock Problems
14. Lord, I’m Discouraged
15. You Can Make Him Like You
16. Stevie Nix
17. Hot Soft Light
18. Stuck Between Stations
19. Sequestered in Memphis
20. Slapped Actress
Encore
21. Barely Breathing
22. Stay Positive
23. Your Little Hoodrat Friend

All we know is that we were only half paying attention to the start of their set at the Brooklyn Vegan/M for Montreal day party Saturday when things suddenly got really catchy, and we were swept away by an eddy in the current of rock. Or something.

We’re not sure what the song was, but the show was the last of six that Plants and Animals played at this year’s SXSW. Maybe having the end in sight added a little frenetic urgency, but we suspect the band always performs with taut, coiled energy that’s difficult to resist.

The songs were intricately constructed, with tight grooves here, zig-zagging guitar there and vocals from singer Warren Spicer than ranged from low murmurs on the restless “Faerie Dance” to terse and expressive elsewhere.

Plants and Animals releases its second full-length album, “La La Land,” April 20 on Secret City.

LISTEN
Faerie Dance mp3

Text by Eric R. Danton, photo by Caroline Desilets

That’s pretty harsh, so Listen, Dammit, decided to see for itself at the Frenchkiss Records showcase Friday at SXSW.

Our conclusion: Lighten up, Pitchfork.

Sure, the band is cutesy, with just-so song arrangements featuring instruments like banjo, harmonium and glockenspiel. But so what? The songs are catchy and the quintet is a strong live act, performing with an air of earnest yearning at the Galaxy Room Backyard, one of nine sets the band played in Austin.

Lead vocalist and guitarist Judah Dadone (above) often sings in plaintive tones, and he dialed in a blorping synthesizer sound on “Hannah” while bassist Doris Cellar added backing vocals and harmonies. She coaxed a reedy sound from the harmonium on “Location” over plinky banjo and contributed vocals along with Dadone, Kevin Read and Chuck Criss.

The combination of synths and pensive lyrics on “Starring” made the song at once dance-friendly and a little downhearted, which isn’t a bad summary of the band’s aesthetic: catchy, poppy songs with wistful undertones.

Freelance Whales last year self-released its debut LP, “Weathervanes,” which gets re-released April 13 on Frenchkiss/Mom & Pop.

LISTEN
Generator ^ 2nd Floor mp3

— Text and photo by Eric R. Danton

Returning to a U.S. stage for the first time since calling it quits in 2002, Hole — or a version thereof — performed to a packed house at Stubbs Friday afternoon at SXSW as part of Spin magazine’s day party.

Supported by an unconvincing backing band, singer Courtney Love — the sole remaining original member — sauntered onto the stage dressed like one of the Band Aids from “Amost Famous”: beaded headband, gauzy top over what looked like a floral-print tank top, an orange sash that read “Beware” and, of course, a short skirt.

She opened with “Pretty on the Inside,” sliding quickly into a cover of the Rolling Stones’ “Sympathy for the Devil” before getting to songs from Hole’s comback album, “Nobody’s Daughter,” which comes out in April.

First single “Skinny Little Bitch” sounded like vintage Hole, with a grungy, chugging bass line and Love’s rasping aggressive vocals. Later, she introduced a  slow number as “what Bret Michaels would call a ‘powerful ballad.’” Actually, it just seemed maudlin.

Although she was in fine form, singing, playing guitar and displaying her (covered) crotch, the set — particularly the new songs — was missing the bite that would have made it one of those legendary SXSW gigs.

— Text and photo by Eric R. Danton

“Don’t worry: I’m gonna break him in,” Jones cracked to a capacity crowd

Who better?

Backed by her ace soul band the Dap-Kings, Jones delivered a joyous, high-energy show, mixing songs from earlier albums with tunes from her forthcoming LP “The Hard Way.”

Jones was constantly in motion, shimmying, shaking and pumping her legs up and down as she sang, as if hooked into a strong flowing current. On new song “When I Come Home,” she demonstrated various dance moves, including the boogaloo and the funky chicken.

As for Justin, he eventually came around, falling into the flow as Jones guided him with a twinkle in her eye.

— Text and photos by Eric R. Danton

Instead, she and her band recorded last year’s stunning power-pop album “Message to Garcia,” which led to a high-profile performance opening NPR’s talent-packed showcase Wednesday night at Stubbs’ amphitheater.

With Neko Case watching from the audience, Flotard started quietly, singing “So Long” with accompaniment from cello before the rest of the band joined her for the rollicking “Hand Me Down.”

The group only had time for five songs, but they were five winners: “Capitol” was flat-out blistering, and Flotard’s powerful voice filled the amphitheater on “Ward.” Visqueen ended with “Fight for Love.”

— Text and photo by Eric R. Danton

The Rock Island, Ill., native, last name of Maurus, sings with a sort of rustic soul on spare songs that sometimes border on spellbinding.

Her set Wednesday afternoon at the Galaxy Room as part of a Paste magazine day party had even the first-day SXSW crowd listening in rapt attention on “Wedding Bells” and “Oh Mississippi,” a riveting ode to the river that flows past her hometown.

With haunting backing vocals from her guitarist and bass player/drummer, the song was powerful enough to send chills up your spine in a plenty-warm room.

Listen here to her song “Little Lovin’.”

— Text and photo by Eric R. Danton

It was a great start, then, for the crowd that kicked off this year’s festival with Givers.

Playing at the Galaxy Room Backyard as part of a Paste magazine day party, the Lafayette, La., band made its SXSW debut, throwing down an ebullient, highly energetic set of songs with traces of folk and Afrobeat, and a ton of rock ‘n’ roll heart.

The quintet, which toured last year with Dirty Projectors, packed guitar, bass, keyboards, percussion, ukulele and sunny male-female vocals into layered, polyrhythmic songs with pulsing beats.

Both singer/percussionist/ukulele player Teddy Lamson (top) and singer/guitarist Taylor Guarisco have a habit of sticking out their tongues while playing, which added a slightly goofy, completely endearing element to their set.

Listen here to their song “Ceiling of Plankton.”

— Text and photos by Eric R. Danton

These days, Holly rocks vintage dresses, strums a hollowbody and lives in a Georgia farmhouse with a guy called Lawyer Dave, the singer, guitarist and percussionist who alone constitutes her new backing band, the Brokeoffs. The pair has released two excellent albums and is fixing to drop a third, “Medicine County,” in March.

Thursday night, Holly and Dave brought their always-entertaining live show to New York City’s Mercury Lounge. Here are four reasons they were worth leaving the apartment to go and check out, no matter how cold the walks to and from the subway.

1. Easygoingness: For some reason, Holly and Dave didn’t get a chance to sound check, so they simply tested their levels in front of the audience, during the opening “Lay Right Down and Die.” There was a certain murkiness to Holly’s guitar tone, but she must have liked it, because she kept going, giving the soundman no directives.

2. Dave’s deadpan comedy: “In a way, they’re all kind of domestic-violence songs,” the slow-talking Texan said early in the set, introducing “My 45,” a tune about hiding your gun, lest your spouse use it on you. At various other points in the show, Dave mused on drugs (“I don’t do a lot of cocaine, so I don’t know what disco is.”), cannibalism, Republican presidential hopeful Mitt Romney and the unequivocal bummer that is stepping in human poo.

3. Holly’s humor: Holly more than kept up with Dave’s one-liners, and she frequently countered his with gems of her own. As Dave introduced a song about “y’all’s neighbor, New Jersey,” Holly cut in with, “Yay! It’s raining trash!” She dedicated “Everything You Touch,” a tune whose titular phrase leads into “turns to stone,” to “anyone who has a mother-in-law” and made a sex joke about Frank Sinatra, ostensibly because she was playing a guitar that once belonged to one of Old Blue Eyes’ band members. “I like to think Frank rubbed off on me,” she said, dirty meaning very much intended.

4. Oh, and the music’s not bad, either: You could listen to the two talk all night and still get your money’s worth, so consider the songs an extra bonus. Holly and Dave are purveyors of a loose, scrappy sort of twang, and as they sing of suicide, spousal abuse, booze, guns and other classic-country subjects, they never try for the earnestness or musical authenticity of other Americana artists. They introduced “Indeed You Do” as their disco song, even if Dave’s insistent bass-drum kicks were closer in spirit to L.A. punks X than Donna Summer.

— Text by Kenneth Partridge, photo by Alison Wonderland