By: David Schultz

The Cold War Kids have reached a truly surreal level of fame. Surpassing the strata of "are they good," they have become so universally adored and beloved that anyone failing to proclaim their greatness seems to make news simply by failing to recognize the genius of the earthy, literary band from California. Having received accolades from nearly every Internet and print publication, Pitchfork's review criticizing not fellating the uber-buzzy Cold War Kid's debut album Robbers & Cowards, became a newsworthy event in and of itself, thrusting the Cold War Kids smack dab in the middle of a debate over Pitchfork's editorial scruples. If the Cold War Kids even care about such an argument, they are opting to make their bullet points from the stage.

This past Wednesday, the Cold War Kids returned to Pianos on New York City's Lower East Side for the first of three shows that will constitute the NYC leg of the band's dual coast residency. In playing the cozy venue, the Kids are giving their fans one last opportunity to see them in an intimate space. Symbolic of their growth, the logistics of Pianos' stage no longer works entirely to the band's advantage. With the piano so prominent in songs like "We Used To Vacation" and "Hospital Beds" set up along the far side of the stage, Willets played nearly half the show to the adjacent wall. Although it didn't diminish Willets' energy or ability to connect with the audience, the sight of him banging away on the piano just outside of the stage lights provided a weird visual.

The Cold War Kids play with seemingly limitless reserves of passion, rarely standing still for more than a moment. Though they may appear ragged, there's nothing uncontrolled about their performance. Even when it seems like they have spiraled astray, they are in complete control, able to tightly snap right back into a hook or a riff. Guitarist Jonnie Russell and bassist Matt Maust confidently throw off complimentary riffs, much like the later version of the Velvet Underground when Doug Yule and Sterling Morrison did the same. Unlike the Velvets, Maust and Russell are prone to occasionally charging head long at each other like rampaging bulls. Maust and drummer Matt Aveiro don't provide your standard rhythm: Maust's bass lines loom large in the mix, his opening salvo of "Hang Me Up To Dry" fast on its way to becoming the band's most immediately recognizable hook. Sometimes fluently, sometimes jerkily, Aveiro moves with perpetual motion, making more of an effort to lightly brush the drums than wailing away.

At the start of the show, the Kids encountered a small logistical delay. In wading their way to the stage through the sea of fans, the band forgot to bring a bottle to provide the proper accompaniment to "Saint John." After Willets asked if anyone had an empty bottle, the air became filled with upturned beers as a handful of fans started to down their drinks, passing their empties up front. Once able to get the proper chain-gang clank, the Kids kicked off an hour long set featuring a healthy number of songs from Robbers & Cowards. A good number of the songs come from the points of view of various downtrodden, beleaguered or tortured souls and Willets' voice conveys their tales with unwavering naked emotion. Pianos' sound system didn't do the Kids justice, rendering some of Willets' words unintelligible.

Hundreds, possibly thousands, of bands come through New York City each year, playing hour long sets at clubs like the Mercury Lounge, the Knitting Factory and Pianos. If you see enough of them, you will see a number of bands that will catch your fancy and even a few that will stir your soul. However, many times while spreading the word of our latest fascination, we know deep down that the chances of the band breaking through on a widespread, Madison Square Garden headlining level will never happen. Such lingering doubts aren't present here. The Cold War Kids have that right mix of musicianship and showmanship that can, should and undoubtedly will find a huge audience. Once signing with the exclusive Downtown Records, the band rerecorded a selection of songs from their prior EPs, essentially making Robbers & Cowards, a best-of compilation. At Pianos, the Kids showed that their creative input hasn't ceased. In offering up two new songs, "Golden Gate Jumpers" and "Every Valley Is Not A Lake," they gave every indication that their output to date may only be the tip of the iceberg. In the greater Metropolitan area, that journey will begin in April when the Kids headline a pair of shows at The Bowery Ballroom.

The Pianos gig is part of Cold War Kids' dual coast residency. Instead of spreading their magic throughout the heartland (that will happen in March after a European jaunt with Clap Your Hands Say Yeah ), the Kids are hopping between Los Angeles and New York City over the next three weeks, returning to Brooklyn's Union Hall on January 17 and the Mercury Lounge (with unsigned sensation Illinois) on January 24. The New York legs will also consist of a January 18 open art gallery showing of Maust's collages at Headquarters Studio, 385 Broadway and Willets performing a January 25 acoustic set at The Knitting Factory.

Labels: Cold War Kids