Favorite

THE SADIE HAWKS, PINK EYE FOR THE STRAIGHT GUY, BLIND MAN DEAF BOY, MARRISA. AND MICAH, LOGAN GREENE

TLMS

Sunday, Dec. 15

It seems like I can't leave my house these days without bumping into an acoustic guitar-slinging troubadour. But for the most part, I'm happy to report that the days of James Taylor and Cat Stevens are more or less over.

Witness Logan Greene, standing on a chair in the entrance to TLMS, singing his heart out and bashing his guitar. Some of the songs he performed are usually played with his electric band, but great as his rhythm section is, they weren't missed. Greene has a fantastic voice and his lyrics are like scythes. While I never thought I'd favorably compare any act to emo also-rans Saves the Day, Greene one-ups them at their own game, which puts him more in line with legendary power poppers like Elvis Costello.

Solo artist Marrisa. (punctuation included) then teamed up with Micah Butler from the band Chatterbox and the Latter Day Satanists for a set of songs, the first half by her, the second by him. Though both interesting, Micah's were the stronger of the two, hardcore punk in style, but arranged for acoustic guitar and washboard. The abrasive percussiveness of both instruments provided a fitting foundation for the pair's X-like vocal interplay and memorable, rousing songs.

A similar concept was executed by Denver, Colorado's Blind Man Deaf Boy, and while they certainly nailed the acoustic hardcore, you have to wonder if it was an idea worth nailing in the first place. Without songs to support the sound, the screeching fiddle, nonstop barking and punk-polka drumming got old fast.

That misstep would've been an advantage to local newcomers Pink Eye for the Straight Guy, but these two ladies were just fine on their own. Even without the ultra-brief song-vignettes, terrific call-and-response vocals, and "Be My Baby"-worthy drum beats, Pink Eye for the Straight Guy could have gotten over on their excitement and catchy choruses alone.

The Sadie Hawks closed out the show with their always-fun, danceable '60s-flavored pop. The quartet's three-way intertwining vocal harmonies was their most, but far from only, outstanding attribute. With their hooky, two-minute would-be hits, The Sadie Hawks make a great case for the minority of us that found the Rutles to be a much better party than the Beatles.

Joshua Levinemailbag@tucsonweekly.com

More by Joshua Levine

  • Noise Annoys

    All hail The Loudhouse, host of Tucson’s latest underground racket
    • Jan 12, 2017
  • Noise Annoys

    Louise Le Hir
    • Jan 5, 2017
  • Noise Annoys

    Levine Rounds up Tucson’s Best Releases of ’16 (PT. 2)
    • Dec 22, 2016
  • More »

Comments (19)

Showing 1-19 of 19

Add a comment

 
Subscribe to this thread:
Showing 1-19 of 19

Add a comment

Readers also liked…

  • Noise Annoys

    Baby Gas Mask, absurdist soul and prog, plus Chaka!
    • Oct 13, 2016
  • Almost Famous

    25 Years Later, frontman Brian Smith reflects on the misadventures of a bunch of coulda-shouldas called Gentlemen Afterdark
    • Sep 3, 2015

Latest in Live

  • Noise Annoys

    Baby Gas Mask, absurdist soul and prog, plus Chaka!
    • Oct 13, 2016
  • B-Sides: DJQ

    MUSIC AS POETRY
    • Jul 28, 2016
  • More »

Most Commented On

  • People Who Died: Leonard Cohen by Howe Gelb

    Leonard had a voice with the authority to soothe the journey of a treacherous landscape we insist on traversing, says Giant Sand's Howe Gelb.
    • Dec 29, 2016
  • Noise Annoys

    Levine Rounds up Tucson’s Best Releases of ’16 (PT. 2)
    • Dec 22, 2016
  • More »

People who saved…

Facebook Activity

© 2017 Tucson Weekly | 7225 Mona Lisa Rd. Ste. 125, Tucson AZ 85741 | (520) 797-4384 | Powered by Foundation