The Twilight Sad bring tumultuous sounds to Triple Rock

The Twilight Sad bring tumultuous sounds to Triple Rock

The Twilight Sad have one ultimate request for their sound man: "Above all else, make us loud." I found that out while chatting with the band after their stellar but far too short set at the Triple Rock on Wednesday night. But I was already made quite aware of that fact after the Kilsyth, Scotland band's deafening performance; it was a show that you feel both physically and emotionally, as their songs pound at your chest and your heart. Watching lead singer James Graham completely lose himself in the music goes a long way toward these songs hitting home for the audience, with Graham intently staring off to the side of the stage while the song builds, before throwing his head back and really letting go on the songs stirring choruses.

Their 40-minute, 7-song set drew heavily from 2009's Forget The Night Ahead, with singles "7 Years Of Letters," "The Room," and a killer version of "I Became A Prostitute" all rattling the walls of the Triple Rock with their enormous Scottish sound. Other than an occasional thanks and cheers from the band, there wasn't any unnecessary between-song banter, which was clearly a good thing, since those without earplugs wouldn't have heard anything anyway. The Twilight Sad are currently touring as a five-piece, with their three core members of Graham, guitarist Andy MacFarlane, and drummer Mark Devine augmented by keyboardist Martin Doherty and new bassist Johnny Docherty. Their additions really helped fill out their sound, providing a steady wall of noise for the slowly growing crowd.

The band closed with a stirring rendition of "Cold Days From The Birdhouse," the lead-off track on their debut album Fourteen Autumns & Fifteen Winters, with Graham delivering the opening verses solo before the rest of the band kicked in a few minutes into the song. It was a powerful finish to a riveting but all-too-fleeting show, with the Twilight Sad setting the stage well for Mono, but ultimately leaving their fans wanting more. Here's to hoping the band comes back through Minneapolis soon as headliners so we can hear a full performance from this rousing Scottish band.

Japanese post-rock instrumental band Mono delivered a mesmerizing headlining set of slow-building, churning distortion that went over well with the crowd at the now-full Triple Rock. Their music is as informed by traditional, classical styles as it is by darker, metal influences, and that modern blend of two familiar but disparate sounds combined for a forceful, atmospheric set that really highlighted the strengths of the venerable four-piece. The band didn't have any microphones on stage, meaning they obviously weren't going to sing, and weren't planning on saying anything to the audience. They were just there to rock, and rock they did.

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