Mountain Goats @ Metro Theatre, Jan 6

The reckless arrogance that the Whiteboydancefloor crew rolled up to this gig with was something we would end up being ashamed of. In a nonchalant manner, we joining the line up outside the Metro, ticket-less and little to no anticipation of whether we got in or not.

I would go as far as saying the Whiteboydancefloor crew were more excited flippin’ cds in Chris’ beastly 06 Holden Commodore (Chris’ dads) than we were for The Mountain Goats. Part of me wanted to see them and another part of me just wanted to give more live gig reviews to the Whiteboydancefloor readers.

In ensuring my introductory lead up doesn’t drag on like the CSS review, we lined up at the eleventh hour and got tickets in a snap.

The only disregard comparable to that we originally had for this gig was for the supports Dj Dodger (I believe that was his name) and John Vanderslice. To warm it up DJ Dodger was reminiscing tracks from the anything’s before 1980 and once you allowed his unique schtick, choreography and more DJ equipment than he did do actual mixing or DJing, he was firmly etched in the crowd’s heart. Chris likened him to that goofy uncle we all have who thinks he is ‘da bomb’. Yet for all his uniqueness, his two sets were both met with mountains of cheers and appreciation from one of the most accepting audiences I had been apart of for a while.

Skeptical indie kids need not apply.

Following on then was John Vanderslice, an act we expected to produce slumbering acoustic ballads of yesteryear. However he turned out to be quite something else. While I must admit the tales of magnolias and love lost in the fall was not quite sinking into my heart strings, his endearing and grandurous (yes I made that up) tone made him the perfect support for The Mountain Goats.

After obliviously standing next to Peter Hughes (Mountain Goats bass player) for the good part of 3 songs, my suspicions that he was in the band arose as he was the only audience member capable of singing along to Vanderslice’s warm storyteller. My keen detective work was validated when he joined Vanderslice on the stage for the set closer “Pale Horse” which was without doubt a highlight for everyone, including Vanderslice & Hughes it seemed. As an appreciative Vanderslice said his farewells and began an acoustic far less dark rendition of “Pale Horse” the crowd burst into a feverish clap which I think surprised even Vanderslice in lasting for the entire song.

With Vanderslice complete it was time for the second installment of the now iconic Dj Dodger, spitting out mostly tunes I wasn’t familiar with. The what appeared to be drug induced yet dazzling dance moves Dodger would without warning erupt into had the crowd not only warmed up for The Mountain Goats, but caught up in a mutual love affair with the ackward man that was Dodger. He was definitely a pin up boy for Whiteboydancefloor, and if we can get a hold of him, a future feature at one of our 07 parties.

Now for the main course, that’s fancy restaurant talk for the headline act, The Mountain Goats. The set did not start in fits of outrageous hook or melody but rather with a subtle and delicate John Darnielle capturing the silence of the crowd with a whisper so light you could have heard more noise at a library. Vocally it doesn’t come much more mercurial than Darnielle. I’ll be the first to admit I am not overly familiar with schools of The Mountain Goats’ songs, It did not diminish my enjoyment of the whole experience. In fact, I could only imagine what the euphoria would have been like for someone actually familiar with every song, every lyric and every ounce of melody.

Darnielle’s relationship with his audience was like a father and son, remembering his good times at The Annandale last year and showing his gratitude for what seemed like almost a packed house at a larger venue. He was as hilariously funny during song as he was in his between song banter. Taking the audience on a real journey of what it is share in the experiences of John Darnielle.

Not to be outdone was the extremely integral bass work of Peter Hughes, often creating the hook or melody almost as much as Darnielle’s vocals did so, even at times adding more to the song than Darnielle’s constant strumming did. However this was not one out doing the other, this was all for one and one for all. When Darnielle dropped the guitar and the bass was the only instrument providing music, the songs were still floorless, methodical yet so personal to both artist and audience. It was like everyone reliving something, but collectively. I think that is something really sets the Mountain Goats apart from other artists, they emplore you to give apart of yourself to the whole experience.

A brief three song visit from John Vanderslice was fantastic, Vanderslice absolutely lapping us his time shared onstage with these amazing musicians. If you didn’t like Vanderslice’s music, you could certainly commend him on his love and passion for The Mountain Goats. You could see from Vanderslice's face just what it means to be in the presence let alone performing with The Mountain Goats. While not stealing any of the spotlight (which is near impossible in Darnielle’s presence) Vanderslice looked right at home complementing The Goats as they mesmersized the masses more and more with each song. And if I can just go off on a tangent quickly, Darnielle’s voice is something you must hear to believe. Note perfect the entire way through, never missing a beat, so fragile yet at times then forcefully charging out catch phrases like “I hope you die” with the finest form of sarcasm known to mankind. Darnielle is truly without question a class act and one of the greatest sights I have or will ever experience live. I would by no stretch call myself a die-hard Mountain Goats fan.

After what seemed like endless but definitely called for encore performances, The Mountain Goats gave the crowd what they had screamed for endlessly, “No children” then followed it up with personal favourite "California song". And with that, Darnielle and Hughes bid the crowd a humble and extremely appreciative farewell before reminding the audience they had almost run out of songs (as if). I can’t stress enough that with only 2 instruments and vocals, this duo created such varied, intreuging and breath-taking music I’d experienced. Hell, U2 have got four musicians, countless synthesiers, instruments and whatevers and they would sooner send me to sleep or go buy a hot dog.

Now finally let’s get one thing straight. John Darnielle is without question the nerdiest looking individual in the music business. The difference between John and The Decemberists or Death Cab for Cutie is that people with a semblance of what is musically talented overlook the later and focus on King John Darnielle.

Organic would be an understatement for this duo. Little to no light show, no other instruments other than voice boxes, bass guitar and acoustic guitar, The Mountain Goats came with what are like caveman tools in todays technologically advanced musical realm and what they made was magic.

It sounds cliché but without a shadow of doubt in my mind, I have never and probably will never invest 40 dollars in a more rewarding experience. Within a week I have seen both The Mountain Goats & CSS, 2007 better step up if it is to keep up with that kind of quality.

We've all heard The Mountain Goats tracks, so it is pointless me posting them unless I want 40,000 hits off Hype Machine, but rather I point you in the direction of the equally enjoyable John Vanderslice.

Website: Click here to get aquainted with John Vanderslice.

I suggest "Pale Horse".

Blog: Head over to Oceans Never Listen for setlist and a far more intuned review than my own.