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all words: Katie Glanz (& Shauna Alexander)
all photos: Shauna Alexander

Everyone and their mom came out to 9:30 club last night to see Alison Mosshart channel her inner blues rock goddess like a genuine lizard-queen. By everyone, I do mean everyone; Alison’s parents and her brother, (oh, and Ian MacKaye,) and 1,000 plus rocker babes dressed all in black were packed into 9:30 club.


The place was at capacity, on Easter Sunday no less.


This three band line-up worked out just amazingly. FINALLY a line-up that perfectly complements my spaztastically diverse taste in music. Three very different bands with one crucial similarity-the ability to put on a fucking fine show. First up, 60’s acid/ psychedelic rock Entrance Band warmed up the crowd with guitar and bass riffs reminiscent of the 60’s finest iconic rockers; then otherworldly Cold Cave brought a touch of darkness and more than a touch of bass to the evening. These two surprisingly complementary bands led up to the crescendo, the climax of the night- The Kills.


When we showed up at 9:30 club I was immediately glad we had gotten there in time to hear Entrance Band. Their set was a sight to see and hear- Jimi Hendrix meets Black Sabbath. Band members, bassist Paz Lenchantin (Queens of the Stone Age and Zwan) and frontman Guy Blakeslee were visibly lost in their righteous groove.


Their narcotic induced space-out jams set the ethereal mood for what would be a very sexy “shiny shiny shiny boots of leather” kind of affair.  (Their jam, “Grim Reaper Blues, Pt. 2” is well worth a listen whether live or in your own personal space… You can almost feel the grip of death creeping up your spine as Guy howls at the moon and Paz lays down some of the sexiest bass beats you’ll hear. Just trust me on this. -Shauna)


Cold Cave, a darkwave synthpop/industrial band came on next –from a completely different direction. It’s not often I get to see a genuinely unique and artfully put-together synthpop or industrial band formed post-1990, and as an avid industrial/synthpop fan, I was very excited to see Cold Cave’s performance.


I was in no way disappointed. With walls of sound and noise, and earth-rattling booming bass, they sounded brooding and spellbinding. Wesley Eisold’s haunting voice, perfectly complemented by industrial synth beats created a dark and sexy atmosphere, the perfect lead-in to The Kills…


Alison Mosshart and James Hince took the stage just around 10, backed by a wall of iridescent leopard print, and preceded to rock. Hard. Mosshart radiated unintentional I-don’t-give-a-shit sex appeal. She was a presence, in her black pointy heeled boots, mane of black hair and slinky black Johnny Cash-like attire.


The duo opened with “No Wow” quite possibly one of the best opener songs ever. That heartbeat bassline lead-in ending in a completely evil sounding rockout was all too perfect. They followed up with “Future Starts Slow,” and then “Heart is a Beating Drum.”


“Heart is a Beating Drum” showcased Mosshart and Hince’s undeniable chemistry- Hince’s riffs and Mosshart’s seductive vocals created something incredibly enjoyable to experience.


Mosshart and Hince’s performance of “DNA,” was completely hypnotic–Slightly in the vein of a religious experience.–I don’t think I’ve seen a crowd get that down in a while. Just in case you had any doubts, The Kills are one of those bands that you really really really want to/need to/must see live.

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The relatively short set included songs mostly from The Kill’s recently released album, Blood Pressures, and a few from previous albums including twangy “Kissy Kissy,” and “U R A Fever.”

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Noticeably absent were a few of their bigger hits, including “Love Is a Deserter,” “Last Day of Magic” and “Cheap and Cheerful.”  (However we were treated to the soulful velvet-underground inspired ballad, “The Last Goodbye” which ended with Mosshart wiping her eyes and turning her back to the crowd.  Crooning lines like “how can I get by on a half-hearted love that’ll never be whole” — It was most definitely the highlight of the show. To me, that was Mosshart at her most vulnerable… certainly reminiscent of their 2009 show, as opposed to her super sexed-up revved-up post-Dead Weather persona.  -Shauna)

This was, without a doubt, a night to remember. Damn.


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