Julian Plenti (Paul Banks) Played The Guggenheim - Pictures, Review, Setlist

On Friday night we stopped in at the Guggenheim for the second in the museum's "It Came From Brooklyn" concert series. This time around, the main event was Paul Banks' solo project Julian Plenti, with a solid dose of comedic input from MC Eugene Mirman.

Mirman, who we hadn't seen since his show with John Wesley Harding, was in typically solid form. While the gig was a bit non-standard (lots of short bits between the other acts), Mirman delivered a solid take on his usual routine. One highlight included a "bouncer audition" in which Mirman convinces an English bouncer to recite ridiculous one liners.

Banks took to the stage around 10:30, with a band significantly larger than his usual four piece. In addition to Banks on guitar, there was an additional guitarist, bass, drums, and a three piece string section. The mix of instrumentation served to flesh out the sound, and moreover it served as a solid foundation for the atmospheric sound of Julian Plenti.

And really, that was the big question of the night: How would Banks' set away from his Interpol band mates shape up? Well the simple answer is "quite well", but we'll give you a bit more than that. Banks maintained his trademark monotone vocal style, but the overall vibe of the show was completely different. Not only was Banks talking between songs and smiling for much of the set, but the feel of the show was one of a band enjoying themselves and not being afraid to show it.

One of the more interesting points of the evening was Banks' choice of covers. They included America's "Horse With No Name" and the Pixies B-Side "Into The White". In short, not exactly what you might have expected. That being said, both tunes actually played out extremely well, and served to underscore a set that undeniably confirmed there is a whole other side to Paul Banks, and that side is Julian Plenti.

Setlist here
More pictures at the HAD Archive

Wes And Eugene's Cabinet Of Wonders Came To The Independent - Pictures, Review

On Sunday night, Wes And Eugene's Cabinet of Wonders made a San Francisco stop at the Independent, and without a doubt, it was everything that was promised and more. Which is to say, it was a little of everything, and then some. It was a loose, enjoyable, but ultimately artistically sound, show that left you walking away with a real sense of joy in the act of performance. But more than that, it was truly a variety show, and gave us such a wide array of input, that we were left unquestionably wanting more. So what, then, was that content? Or, put differently, what did the Cabinet Of Wonders hold?

For starters: John Wesley Harding and Eugene Mirman. Harding turned up a number of separate times through the night, playing as an acoustic duo, with a full band, and backing other performers. As you might imagine, his tunes were incredibly solid, and his singer-songwriter cred served him incredibly well in the variety-show format. While Harding delivered across the board, we do have to say that the highlight for us was the full band set at the end of the show. It was fantastic to see Harding really rock out, and be able to engage in the full arrangements from the record.

For his part, Mirman unquestionably delivered with his own brand of stand up, and really won over the crowd. His reflections on class reunions, trips to israel, and the crowds at recent shows were all incredibly witty and insightful, not to mention downright hilarious. However, even more compelling was how Mirman acted a foil to the rest of the evening's more serious content. Having a solid dose of comedy interjected amongst some of the more earnest numbers served to actually give the rest of the program more weight and poignance.

Perhaps the highlight of the two's time on stage was a collaboration where they sang a duet (complete with gag backdrop) of Simon and Garfunkle's "Mrs. Robinson". Complete with lyrics sheet and harmonies, Harding and Mirman belted out a raucous version of the tune, which culminated in Mirman playing a behind-the-back solo (on a stylophone?). Needless to say, pure awesomeness.

Mirman and Harding, however, were certainly not the only acts on stage that night. Other highlights included and eerie reading by Stephen Elliot, an accordion version of "When Doves Cry" by Daniel Handler, and some great tunes from Victor Krummenacher and Chris Von Sneidern (whose band also served to back Harding). In short, the show was very much like attending a talent show put on by your friends, if you happened to have immensely talented friends who could put together some serious entertainment at the drop of a hat. And that, dear reader, is the definition of fun.

Wes and Eugene's Cabinet Of Wonders continues this weekend, starting tonight, with dates in Minneapolis, Chicago, and Madison.

Many more pictures at the HAD Archive