Live Review: Crooked Fingers at the Great American Music Hall

Posted by: on Nov 12, 2008 | Comments (0)

Hey John,

It’s too bad that you didn’t come down to the Crooked Fingers show. I didn’t like their new album at first, either, but it started sinking in these last few days. The big question is: why did we convince ourselves that they’d only play a bunch of new songs? The show was amazing, and they played stuff from every album.

Eric Bachmann came out, strapped on his nylon-string and played “You Must Build a Fire,” from Dignity and Shame—a beautiful start. The band picked up their instruments for a completely reworked rock version of “Bad Man Coming,” from Red Devil Dawn, then “Crowned in Chrome” from the first record, then fucking “Islero,” and then “Man of War” from To the Races!

I’ve got this thing sometimes where if I know that a friend of mine would have really, really loved a show, I try to downplay how wonderful it was, you know, “Aw, you didn’t miss much.” But I can’t lie, man. Crooked Fingers last night was something very moving and special.

I know that you’re a big Red Devil Dawn fan—me too—and part of what’s great about that album is that it’s so serious; it’s a real deep meditation on love and redemption. That’s the way it hits me, at least, and it coulda just been the time frame that it came out and what was going on in my life and all—Perfecting Loneliness and Tallahassee were both around the same time—but anyway, Crooked Fingers weren’t all super-serious onstage, and it was cool.

Eric Bachmann announced that he’d hit a deer in the van last night, and everyone at the Great American Music Hall sighed this big “awwwwww” of sorrow, which made him laugh. “Yeah,” he said, “this is San Francisco. I’m from North Carolina. We’re like, jaded.” (Or maybe he said, “Didja eat it?’” It was hard to tell.)

They had this really cool girl, Miranda Brown, in high-rise jeans and brown leather boots playing bass and singing; there was this other girl Elin Palmer who I think’s been in the band a long time playing violin and singing, too, and occasionally, for songs like “Sleep All Summer” (which was fucking AMAZING) they’d stand like angels with their hands behind their backs, cooing wordless backup vocals while Bachmann was all, “Why won’t you fall back in love with me?”

The high-rise jeans girl sang this funny tune between songs about cocks and balls being strung across the ocean, which I guess was her response to the front wheels falling off of their tour van or something, it was pretty funny.

All in all, they only played five songs from their new album, which come on, it’s not that bad. Please listen to it some more. Oh, and the Great American was only half-full, which was sad, in a way. At one point, I stood at the back, during “New Drink for the Old Drunk,” looking at the sparse crowd, thinking, “Can this be for real? Like, am I wrong, or is this one of the world’s greatest songwriters and performers here right now and, like, only 150 or so people are here?”

It coulda been that it was a Tuesday night, maybe, or I wonder if it has anything to do with Crooked Fingers currently not having a label that could give them some good tour support. It’s interesting and all that they did their own record, but c’mon. Merge! Why would you leave that?!

Oh, shit, I almost forgot, they did three Archers of Loaf songs. “White Trash Heroes,” which was really great, and “Harnessed in Slums,” fuckin’ a, and believe it or not, “Web in Front.” Dude! They closed the night with “Little Bird,” and it was so sweet and awesome.

I hate to rub it in, but you really missed out. Maybe you could drive to Los Angeles to see ‘em tonight, it’d totally be worth the eight-hour drive.

Anyway, see you around. Interpol still blows.