I have mixed feelings about the Rock ‘n’ Roll Hotel. It doesn’t have anything to do with the talent they book: I’ve seen several amazing shows there – Jack Penate / Miike Snow in September for example. The crowds usually aren’t as big or vocal (therefore the vibe’s not as great) as with other D.C. clubs, primarily because of the RnR’s location. It’s a pain to get to without a car and even if you can find a place to park, it’s the kind of place you’re worried to walk around by yourself late at night. But with the auspicious date of 12/12, Saturday night came round with a headlining gig by New York’s Phenomenal Handclap Band and I just had to be there. Before the PHB were two opening acts – unsigned Washington D.C. act Bop Beetle and two cousins from New York-by way of- Providence, Rhode Island, Javelin. I always have a soft spot for local acts that are thrust into temporary limelight as an opener for an out of town band, and I felt this for Bop Beetle. Javelin I’d seen before, as the opener for the Very Best in November at another small club, DC9.

Considering they’re unsigned and I’m thinking most people had never heard of them before, Bop Beetle has nerve to develop hand gestures to a song of theirs, ‘Permanent Premonition’. The singer (who alternated between his guitar and a complicated synth set-up) thanked two women in the center of the crowd who “brought it” and were doing the hand gestures along with him. Both duos must be given props for putting on entertaining sets despite the low number of people who showed up before it was the Phenomenal Handclap Band’s turn. Both acts were similar in that they relied on programming to make up for the lack of band members, and they both had a charming vocalist. But the percussion was different: in Bop Beetle’s case, the drummer was playing an actual drum kit, whereas Javelin’s “drummer” plays on an electric drum pad.

Of the two, I preferred Javelin, because the two of them are standing right in front of you with a table full of electronics and you’re wondering what music will come out of it all, and you’ll be pleasantly surprised. And their song lyrics are a lot funnier. I mean, who writes a song about a house cat (‘Oh Centra’) or one that’s titled ‘Lindsay Brohan’? ‘Vibrationz’ was introduced as a song about the innocence of young love and “middle school U.S.A. You know what I’m talking about.’ Yeah, I actually do. They ended with ‘Soda Popinski’, a video game-flavoured tune. I’m hoping for big things for this band and their album that will hopefully be released in March 2010 on Thrill Jockey. (And for those of you who like DIY, Pitchfork wrote an article about them recently offering to personalise a 12″ album jacket for you and will post it back to you with their next single, ‘Number Two’ inside – details here. The deadline for them to receive the jackets is 18 January, so if you want to take part, get cracking. Now just how neat is that?)

23.30 – time for the Phenomenal Handclap Band. Now I’ve written about this band loads because I really dig them. I’ve seen them several times and oddly, only one of those times was outside Washington (in New York with Friendly Fires). (I guess they must like us an awful lot!) A respectable crowd had finally assembled for the band’s last date in America this year, and the band arrived onstage to loud applause. ‘The Martyr’, with its Led Zeppelin-esque guitar work and Daniel Collás’s falsetto, was fabulous live, as was ‘Testimony’, with Joan Tick’s searing vocals. Even though we were in the middle of a D.C. winter, ‘15 to 20′, with its skipping rope-style rhymes, brought out the optimism and sunshine of summertime. The band’s encore, ‘Baby’, sung by the mysteriously/humourously named Bing Ji Ling (whose name means ‘ice cream’ in Chinese…er…huh?), is going to be their next single. The song’s lyrics of “baby / I could rule the world / with a beautiful girl / like you on my arm” is actually pretty spot on what I predict is going to happen with this band. If their star keeps rising, they could very well be ruling the world, the beautiful people in tow, this time next year. Watch this space.

After the jump: set list and photos.

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I seen and written about New York phenomenon the Phenomenal Handclap Band many times now since the summer, but I feel like my love for this band and their catchy tunes isn’t going to wane anytime soon.

The latest? The band has out now an album of remixes of ‘You’ll Disappear’ and ‘15 to 20′, two of the best earworms from their self-titled debut. Luminaries from the dance scene including Prins Thomas, David E. Sugar, and Munk have taken one of these songs and added their special flair for this special collection. And in advance of their live appearance tomorrow night (Friday 20 November) at Brixton’s The Rest is Noise music shop, why not have a listen to this remix straight from Londonium itself? London dance institution Horse Meat Disco have taken PHB’s ‘You’ll Disappear’ and made it even funkier, if that’s even possible. And I believe they’ve done it. Give it a go and let us know what you think.

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MP3: Phenomenal Handclap Band – You'll Disappear (Horse Meat Disco remix)

You can get the ‘15 to 20/You’ll Disappear Remixes’ album from iTunes or directly from their label Friendly Fire Recordings.

Mark my words – the next wave of music to invade the global airwaves will be new-garde Latin. Not the tango and rhumba that your parents would cut a rug to in their town dancehall, no, but an updated version of Latin rhythms complemented perfectly with dance beats heavy enough for the best clubs around and enough rhythm and blues inflection to appeal to the kids. Going into this gig, I knew nothing about Bajofondo except for the spare songs on their MySpace that sounded good to my ears upon their first listen. But always in the back of my mind when I listen to songs off MySpace is the question, ‘can this band deliver the same sound – or better – in the live environment?’ Bajofondo have been touring 2 years nearly nonstop in support of their latest album, ‘Mar Dulce’ (or ‘the sweet sea’), and I am happy to report that the group’s live performance exceeded my expectations several hundred fold. They stopped by Washington’s 9:30 Club to play to a vocal, mostly Spanish-speaking crowd, and were supported by New York City’s the Phenomenal Handclap Band.

Composer, singer, and guitarist Gustavo Santaolalla is, for practical purposes, considered the leader of this group. But he is quick to compliment the many Argentinian and Uruguain people that make up this fabulous band, and one could argue that each member is at the peak or near peak of his artistic excellence on his respective instruments. What I enjoyed most about the live Bajofondo experience was the sheer variety of musical styles they traversed in one evening. I expected the ‘electrotango’ sound associated with the band as described on Web sites, but not the trip hop and house stylings that seemed effortless to them.

But first, let me describe to you the Phenomenal Handclap Band’s set. I am a very lucky girl to have seen them 3 times in less than 2 months, once in their hometown of New York (opening for Friendly Fires at le poisson rouge) and twice in my hometown of Washington, a town that, until a couple years ago, seemed to have trouble attracting up and coming artists to play here. Having eight members makes matters of space difficult when the PHB play a smaller venue, but the 9:30 Club is huge compared to the other places I’ve seen this band. So what was the benefit of them having more space? Their singers and musicians had more latitude to spread out, moving and grooving their guitars and shaking their tambourines to the beat. These folks can really get down, with their psychedelic, funky, colorful rhythms, bouncy percussion, and screaming guitars and keyboards. Simply wonderful. I wasn’t sure how the Latino gig-goers would react, but they seemed to really enjoy the band’s sound as much as I did.

In addition to classical and easy listening, both of my parents favoured Latin music as my brother and I grew up. But the Latin music they liked to play were the restrictive, to the letter type of music you’d hear at ballroom dance classes. Not really for me. There is a large Latino presence in the Washington D.C. area. Unlike my friends, I am not a salsa dance fiend, and I’ve always shied away from approaching Latin music because I don’t understand much Spanish at all and what Latin music I did hear, I wasn’t a fan of the rhythms being employed. So it was with much surprise and delight when I heard what kinds of music Bajofondo had to offer. Gustavo Santaolalla is a good bandleader in the sense that he lets each member of this so-called ‘project’ shine with what they do best. It would take me a long time to describe what each member played, so instead I’m going to lift from their MySpace their members’ names and what each plays: ‘Bajofondo is comprised of Gustavo Santaolalla on guitar, percussion, and vocals; Juan Campodónico on programming, beats, samples and guitar; Luciano Supervielle on piano, keyboards and scratch; Javier Casalla on violin; Martín Ferrés on bandoneon; Gabriel Casacuberta on upright bass and electric bass; Adrián Sosa on drums; and Verónica Loza as VJ and on vocals’.

In particular, I really enjoyed the mustachioed Javier Casalla, who I understand is a world-renowed tango rhythm violinist and could probably be playing those crusty songs my parents loved back in the day, but instead he plays the violin with this band with gusto, as if the violin is speaking its emotions to us and saying, ‘hello, I am here and I am not going to be ignored!’ This evening I was standing in front of Martín Ferrés, who plays the bandoneón (essentially is an Argentinian/Urugaian accordion) and I was really amazed with the range the instrument had. Producer and guitarist Juan Campodónico (also famed in the Latino music world) had the crowd jumping with dance beats that at first I was skeptical of being appropriate with Latin music, given what I previously and erroneously thought. At times, all members seemed to be jumping up and down inexhaustibly. Highlights included ‘Pa’ bailar’ and ‘El mareo’. Close to the end of the night, girls were invited onstage to join in on the onstage dance party. Now that’s the proper way to have a stage invasion! Besides the dancey songs, they also had slower, sultrier numbers that had women of all ages around me swooning. Maybe there is truth to the Latin lover stereotype!

Santaolalla told us early on in the show that this was their last show of their 2-year tour, an ending of sorts. Even though the band is physically separated by miles (they all live in different cities around the world), I hope they will still get together sometimes to record and make more music, because I think the world is ready to receive them. They made me a believer in just one night.

After the jump: setlist and photos.

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I really, really dig the Phenomenal Handclap Band. It started with hearing ‘15 to 20′ and several other songs live on a Radcliffe/Maconie Radio2 session. The vocals and instrumentation in that little room at the BBC Oxford Road Studios in Manchester were stunning.

And I’ve been lucky to see this band 3 times in a span of less than 2 months in two different cities (New York and Washington) and even sat down with PHB founders Daniel Collás and Sean Marquand, who were exceedingly charming one on one. In case you are one of the poor souls who have yet to see them (they just finished a short tour of the UK), we here at TGTF are gifting you with a live version of ‘Testimony’, one of five tracks from a brand-spanking-new EP entitled ‘Live at Lime with the Phenomenal Handclap Band’. I’mma let you finish listening to it, but yeah, it’s – wait for it – phenomenal.

MP3: The Phenomenal Handclap Band – Testimony (Limewire live session)

‘Live at Lime with the Phenomenal Handclap Band’ is available now exclusively at the LimeWire Store.

Having seen the Phenomenal Handclap Band twice this past August, I can say without a doubt that their live shows are amazing affairs. Beyond making a performance video, I wondered how they could film an engaging promo film for a song of theirs that would be compelling, yet still involve all their major players. Tough task, given that they are eight members strong when they perform live.

And they come up with the fabulously retro video for ‘15 to 20′, filmed as 8 separate mini-films merged together to make one video. Maybe the concept isn’t as funny to you as it was to me, but I had an “aha!” moment because it was only recently when I started hearing the song on heavy rotation on BBC 6music (it just made the station’s B list) that the lyrics mention the police and banks. I don’t want to give it all away, so just sit back, watch, and enjoy.

The Phenomenal Handclap Band’s debut album is available now through Friendly Fire Recordings and online everywhere.

Shortly before their group the Phenomenal Handclap Band took to the stage at DC9 on 21 August, New York City DJs and cofounding members and producers of the PHB Daniel Collás and Sean Marquand graciously sat down for a chat. They’re terribly funny chaps to boot. I’m always curious what Americans think of Britain too…and apologies in advance if anyone is offended about their opinions of the traditional fry-up!

From what I can tell, the UK just loves you. I first I heard of you was through the UK – I heard “15 to 20″ on Radio2, Mark Radcliffe and Stuart Maconie’s show. And then I heard you guys doing a live set for them. Now how did that come about, were you over there for a tour?
Daniel: We paid them a lot of money. Payola! You know, that’s the one thing people are unwilling to talk about! Payola has made a bigger comeback than any of this dance rock or disco crapola that they’ll have you believe. The press should be covering payola.
Sean: No, I don’t know how it happened…I don’t know…
Daniel: (looks at Sean with a serious look) You can’t just take my answer?
Sean: Okay, fine…

Seriously? Okay…(all laugh)
Sean: No, they actually took a shine to us because they heard the song through Zane Lowe of BBC Radio1. They knew we were going to be in town, in Manchester, so they invited us to come by the [BBC Manchester] studios. Not the most interesting of stories of what happened but…being at BBC Radio2 was so much fun.
Daniel: Those guys were awesome.
Sean: We didn’t know who they were, of course. And so it was so cool to be around these major celebrities and be around these guys we’re supposed to know, but we were just able to appreciate their charm, like, at face value. Really charming.
Daniel: They obviously carry a lot of weight but we don’t kind of perspective on that, so we just saw them outside of all of that. They are really genuine and really cool. Maconie came to see us at Latitude [Festival] and they were genuinely enthused.

I didn’t know one of your songs debuted on Zane Lowe’s show…
Daniel: Actually yeah, that’s how Paul McCartney heard us and all that business…because before that we didn’t know who Zane Lowe was, and his sphere of influence.

Ah right, the Paul McCartney story. I’ve heard about this but can you tell it again for our TGTF readers?
Daniel: Uh, so Paul McCartney heard one of our songs on Radio1. And I guess he called in, wanting to know what it was. You know, heavy duty stuff! We were like, “what? Paul McCartney?”
Sean: So people asked us, “so what’s next, what’s next with this?” And I said, “I don’t care.”
Daniel: Exactly. I think that’s enough. And people asked, “are you going to meet him? Are you going to do a record with him?” Isn’t it enough that Paul McCartney like called to ask who we are. He knows who we are. We sent him an email, he wrote us a letter, and we wrote him a letter back. So he knows who we are, it’s amazing. It might take him a minute to remember, but at one moment our name passed through his lips, and that’s enough.

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Washington venues have suffered in the last 2 decades – a bunch of clubs have closed or changed for the worse, and there really aren’t that many great, small places bands can play. I can however vouch for the great DC9, which sports a small but cozy gigging space on its second floor. This is the venue that played host to the Phenomenal Handclap Band, Daniel Collas and Sean Marquand’s musical vision put in a live setting.

Besides South by Southwest in Austin and lots of shows in their hometown of New York City, the band haven’t played much stateside; they’ve played music festivals in Europe and Australia this summer, but so far us Americans haven’t been properly exposed to them…yet. But I feel like they’re destined for something big, because dance feels like it’s coming back big-time, with bands like Bloc Party and Friendly Fires leading the charge. (Incidentally, the PHB are opening for Friendly Fires in the next couple of days out in California, which is a great live combination judging by the fab listening experience I had at le poisson rouge less than a fortnight ago.)

The PHB make sultry, sexy dance music, which makes a lot of sense given that Collas and Marquand used to spin dance records regularly at some of the hottest clubs in NYC. Collas’s fondness for ’60s and ’70s psychedelia and Marquand’s love of Brazilian beat music can be heard in their songs, conjuring up a dance party like no other. Given the current credit crisis, I think everyone everywhere could do with some joy in their life. And the PHB sound epitomizes the word ‘joyous’, with their brand of bouncy, happy, life-affirming music.

If I had to choose, ‘You’ll Disappear’, ‘The Martyr’, and ‘Testimony’ were standouts, but frankly, I loved their entire set. I wasn’t around for the ’70s, but I feel like we’re in a special time right now that was similar to way back then – when bands like the PHB can come out and do what they do best – rock out and get people back on the dance floor.

Their debut album is available now through Friendly Fire Recordings. Zane Lowe of Radio1 and Mark Radcliffe and Stuart Maconie of Radio2 have already gotten on the PHB bus of bliss – why haven’t you?

Here’s a video from their YouTube account so can get a feel for what they’re like live.

Stay tuned for my interview with Daniel Collas and Sean Marquand coming soon!

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Le poisson rouge (“the red fish” in French) is a cute little club at number 158 Bleecker Street in New York’s Greenwich Village. A sign outside insists it “serves art and alcohol”, which sounds like a somewhat pretentious designation for a venue hosting Friendly Fires, a decidedly unpretentious band. Upon entering the club, you see that the small lobby upstairs sports an aquarium, set off on an angle, filled with koi (but not one truly red fish was to be seen). Why I am going on about LPR? I guess it’s because I never thought a band like Friendly Fires, whose members have insisted their music is for everyone, would be playing some place artsy-fartsy like this. However, after the end of a two-night mini-tour with the band, this was decidedly the swankier and more interesting of the two venues (for one, it’s got a very wide stage making it easier for punters to be closer to the action). But before I digress further, let’s get to the music…

Starting the evening off right were native New Yorkers the Phenomenal Handclap Band. Like most smaller bands I’ve come to know and love, I found out about them through a favourite BBC Radio show – specifically Radcliffe/Maconie on Radio2, who hosted the band for a short, three-song set the second week of July at the Manchester Oxford Road studios. On the strength of that performance, I was really looking forward to seeing this big band live. And I do mean big – their live show comprises 8 people, each who sing and play an instrument. If you like to dance to mad beats, kick-arse guitar lines, synths, cowbell, tambourines, or any combination of these – you will really like this band. The fresh ‘You’ll Disappear’ will remind you of the best, glitter ball disco tunes from the ’70s. The summery ‘15 to 20′ has an infectious chorus and will get your whole body bopping to the beat. The PHB will be joining Friendly Fires out west for 2 California dates, in Pomona on 23 August and Los Angeles on 24 August), but us Washingtonians are lucky enough to have them all to ourselves at DC9 on 21 August.

After the stage was emptied of the PHB’s many instruments, it was time for Friendly Fires’s crew to start setting up their stuff. Sound problems caused this to take a lot longer than some of the patrons wanted to wait, who cat-called the crew and annoyed the rest of us who realized rather prudently that waiting for everything to be set just right would allow for the best performance possible by the band. Lead singer/synth player/bassist Ed Macfarlane was jumping up and down outside the green room door like Tigger, obviously impatient to get onstage and get things underway. It was well after midnight before the lights went down again and the band finally took the stage. Macfarlane, obviously upset by the delay and boos, ventured forth with an apology: “sorry for the wait. We’re going to make it up to you!” And with that, they launched into my absolute favourite track of theirs, ‘Lovesick’.

Anyone who wanted to dance at the sold-out venue (which I believe was the majority of gig-goers that night) had only one option: sway with the rest of the crowd, which resulted in a mass of bodies pulsating to the Fires’s beats. With so many people, it was really hot, and after just dancing to and reveling in one song, I think everyone in the club was just as sweaty as the guys onstage. Macfarlane’s arms glistened with sweat as he sang and exhibited his now legendary inexhaustible style of dancing. This was the first time I got to see their new single ‘Kiss of Life’ performed live, and wow, it was great. Macfarlane introduced it by saying they had to play it a couple times after false starts to their concertgoers in Toronto but frankly, I couldn’t fault them for the version I heard this night. Jack Savidge’s drumming, Edd Gibson’s wicked guitar solo, and Macfarlane’s sultry vocals combined to make this one hot song for the summer. Maybe if they play it live more often, it’ll be even better…

The night ended with their now-usual set ender, ‘Ex Lover’, but with a twist. Per usual, Gibson got his cordless vacuum out and was driving it along the fretboard of his guitar and making zoom-y noises with it. Then Macfarlane surprised me by all of a sudden grabbing the speaker directly in front of me and turning it towards us, causing the screaming sounds from all the instruments to seem even louder. Cranking it up to eleven. Yep, that’s what the Friendly Fires are all about.

I’d like to give mad props to Will and the other staff at LPR for keeping things under control outside the venue, especially as many, many people walked up to the door nonchalantly expecting to buy tickets and then were shocked and upset when they were turned away, or turned up late and tried to jump the queue. It could have turned ugly and it didn’t, and they did their job with smiles.

After the jump: Setlists and photos…

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