Mikal Cronin at 7th St. Entry, 6/10/13
Photos by Reed Fischer, who is not a professional photographer
with Shannon and the Clams and Is/Is
7th St. Entry, Minneapolis
Monday, June 10, 2013
Mikal Cronin and his band had been building to this point all night. From the stop-start songs that kicked off his show at the Entry on Monday -- his first local headlining appearance -- to the poppier singles territory that came after, "Green and Blue" was just the sort of sprawling number to bust things wide open.
With his long, wavy hair hanging down over his face, Cronin stood in place, strumming his electric 12-string guitar. "Let my body go," he chanted, until the words sounded like some shamanistic invocation, almost swallowed up by the sludgy beat -- and then, instead, washed away by the swirling feedback.
In fact, the Bay area singer played his hand just about right last night, with a 50-minute set that came to an end at just about the right time -- which is to say, just as it peaked, and without dragging on longer than it needed to. It was appropriate, too, for an artist whose music has the most raucous garage rock in its DNA, yet manages to keep things reigned in just so.
Indeed, it was a no-frills sort of night, albeit one that seemed like it could wind up getting a little rowdy: there was crowd surfing during Shannon and the Clams' opening set, and one didn't need a long memory to recall the chaos of Cronin's close friend Ty Segall's set in the Entry last summer. But instead, Cronin and his band -- two guys plus a girl on drums, each with long hair and dark clothes -- were too plugged in to give off much in the way of wild energy.
That was probably for the better, because this was a show best appreciated with a little extra concentration. "Is It Alright," a song from Cronin's self-titled debut of two years ago, kicked things off with the singer cooing over a strummed intro. Then it abruptly launched into a scuzzy, crunchy riff that shifted back and forth between tempos. And so things went as the band explored some of its earlier material, as though toying with the audience: pulling them in close, and then pushing them away.
The tone shifted gradually as the setlist worked up to the songs from MCII, the record that came out just a month ago on Merge. Here there were real hooks, ones that played themselves out from beginning to end, but also building on their recorded versions -- gnarlier, more robust. Even though Cronin introduced each simply as "a song from a new album" -- as though they might be unfamiliar -- and even as his voice was chewed up by the noise surrounding it, the crowd already knew the words, and sang along.
It begged an interesting question, too. Sure, this was garage rock, with many of the typical trappings of throwback psychedelia, but it was also fueled by the restlessness and angst of early-'90s grunge and indie rock, not to mention the riffs, as well. Could this music have had more mainstream potential 20 years ago? Hard to say. Today, however, one can only hope it won't simply be a niche -- destined to be passed over for a blander, less dynamic counterpart like, say, Tame Impala (who, nonetheless, are critical darlings).
Such a scenario would be a shame, of course, for under the intent playing and the throwaway stage banter (Everyone sing, "Whoo whoo whoo!") Cronin had a legitimate cool about him -- in particular, when one of his high strings broke during "Shout It Out" and he simply tore it off, then kept playing. He had a perfect foil in the form of his lead guitarist, as well, who seemed ready to tear each song apart with one of his off-the-wall solos, as though to remind everyone that, at any minute, any one of the songs could get blown apart.
Thus, the final build up of the night was all the more satisfying, set in motion by the ascending riff of "Again and Again" and eventually the back-to-back sprawl of "Change" and "Green and Blue" -- where, ironically, the lead guitarist dropped out of the picture, and down to the floor, to fiddle with the knobs of his pedals.
And after all that heady territory, Cronin finished things off just about right, too: with a Monkees cover, and all the sugary sweetness you could hope for. What else was he supposed to do?
Critics Bias: I'll listen to anything by a friend of Ty Segall's.
The Crowd: I bet, like, everyone there has their own band.
Overheard in the Crowd: "But I like Facebook."
Random Notebook Dump: The Entry took a page from the Mainroom's playbook and kicked things off a little early. That meant I missed locals Is/Is starting things off, but Shannon and the Clams were a fun middle act -- a litte bit kitchy, a little bit '50s, and a little bit punk.
Is It Alright
Am I Wrong
You Gotta Have Someone
See It My Way
Shout It Out
Again and Again
Green and Blue
Whole Wide World
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