Some things never change. Despite not releasing a big seller in over ten years (but who actually does nowadays?), Dandy Warhols front man Courtney Taylor-Taylor still boasts his band as – “the last rock & band in the world.”
This shoot from the hip egotism has always been part of the Portland band’s prowess. In addition, they’ve always been ahead of the curve, even calling Portland home before it became the musical utopia it is today. They were neo-psychedelia before freak folk stalked about and ventured into new wave with Welcome to the Monkey House (produced by Nick Rhodes of Duran Duran), when Brandon Flowers was still thinking up a band name for The Killers. And while The Dandy Warhols never quite hit the commercial apex they were hinting towards a decade ago, they are still relevant within a smaller scope of independent artists daring to take artistic chances.
In the middle of their tour supporting the live release, 13 Tales From Urban Bohemia Live at the Wonder, The Dandy Warhols hit the stage in Phoenix an extra fifteen minutes after their listed set time. The four piece fronted by Taylor-Taylor, singer/ guitarist Peter Holmström, keyboardist Zia McCabe, and drummer Brent DeBoer don’t look any older than their Dig! heyday. In fact, Taylor-Taylor at 46, still looks trim mid 30’s with his slinky rock star moves.
When in Arizona its cool to play Captain Obvious, as Taylor Taylor did by saying “its hot in here,” and the giggly response back from the females was – “I’m hot for you baby.” And when keyboardist/bassist Zia McCabe stopped to address the crowd, a few males screamed out, “put your hair up.” She then admitted to never have been asked to put her hair up, which followed with – “if there’s some super horny guys looking for some super horny girls, they are here.”
Musically the band was adept at rocking out early 2000’s style in filling the room up with their strummy rhythmic runs courtesy of Taylor-Taylor and Holmström. There was never any showmanship leads, but instead a pattern of bohemian grooves that gave the Dandys their often stated “cool as fuck” vibe. McCabe in fact didn’t even strap on a bass till more than halfway through the show instead honing the knobs of her Korg MS-20 Analog Synthesizer and looking sexy even when dressed down for the occasion. Drummer DeBoer pounds away with an animalistic intensity, while sharing a facade of Russell Brand with a wild fro.
In their hour and a half set early hits “Bohemian Like You” and “Godless” were the standouts at Crescent as was the epic “Godless” with its riveting guitar interplay minus the piping trumpets. Poppy favorites “The Last High” and “We Used to Be Friends” fell flat mainly due to Taylor-Taylor’s vocals being drowned out in the mix leading the rest of the band to propel the synth based grooves to an upper echelon within a small stage. But despite any musical flaps, The Dandy Warhols won with a stage presence that is groomed for the arena but when transferred to the club setting makes the band feel like “the biggest rock & roll band on a small stage on earth.”
