Noticeably missing were the New World regulars from back in the day. In the old guard's place were polite and well-behaved young 'uns (save for a few chatty, crap-talking partying types; there's just no getting away from them). The wholesome and laid-back kids did precious little drinking and smoking; hopefully the bar profited on sodas and pizza.
One criticism: that dreaded gap between the stage and floor. Thank goodness that Alexander and the Grapes, who played last, magnetized fans to the front.
Easybreezy opened the show with their catchy and seemingly random triptych of styles. The Clearwater band wowed the listeners trickling in, many of whom were musicians themselves. I overheard one say, "I think I found my new favorite local band."
It's impossible to capture all the snippets of genres coming at you when Easybreezy plays. Their music is like a soundtrack to your waking dreams — a subconscious repository of styles. To my ears, they recalled the demento deliciousness of Tampa's Handshake Squad, and I swear I heard the Police, Spoon and Black Sabbath (but it might have been the strange juxtapositions playing with my brain). Josh Greenberg (guitar and vocals), Chase Leonard (drums) and Charlie Curtis (bass) packaged all the madness quite nicely. Their songs didn't sprawl too long and had intriguing patterns to keep you interested. I look forward to seeing if they'll progress with more visceral abandon.
Leonard gets my drummer of the night award. I haven't seen a local skins man deliver such precise technical skill and power since Ken Karg blew New World away last year with Light Yourself on Fire.
Friends of Giants followed up with their minty-refreshing chamber-pop, providing a soothing complement to Easybreezy's angular joyride. Singer-guitarist Jacob Cunningham brought depth and feeling, and multi-instrumentalist Amber Cunningham added sparkly touches with her recorder, xylophone and lap organ.
Alexander and the Grapes made New World come alive. Singer-guitarist Alex Charos, his brother Philip on drums and Tom Dicks, bass, delivered pitch-perfect playing and a tasty new batch of songs from their forthcoming album, which they'll be recording in Boston at the end of the month. Sadly, because of the recording session, the group won't be able to accept an invitation to play Antiwarpt.
When I first encountered the band four years ago while writing for tbt*, A&tG was more folk-y and of the rootsy, alt-country ilk. While those foundations are still there, the band has grown with confidence and skill, busting apart niches with a bigger and, dare I say, supergroup-like sound.
Alex Charos has a warm, welcoming voice — a virtue you'd bestow on Matt Burke of Have Gun, Will Travel. Charos, unlike most, is fully resonant, not at all nasal. He's deceptively powerful. Onstage, he connects with listeners effortlessly. His words sink in, and unlike the opaque poetry of so many indie rockers, you can actually understand them and relate to them. Charos sings about falling short and other hallmarks of the human condition with the honesty and economy of Gram Parsons and Kris Kristofferson. He doesn't have to confuse you into thinking he's brilliant.
The singer's subdued and affectionate demeanor (heck, he even has the Love logo stenciled on his guitar) was contrasted by the antics of brother Philip. Philip Charos heartily thanked the attendees who gave to the band's Kickstarter campaign. I think he was speaking to the really cute ones up front.
