I haven't followed Adam Franklin's many, many post-Swervedriver projects very closely, and the guitarist's gorgeous performance Tuesday night at Shank Hall with The Church made the case that I've probably been missing out. There was nary an uptempo song in his set, which made this downtrodden song, "Ramonesland," a fitting finale:
Headliners The Church touched on as much of their overstuffed discography as they could during their two-hour performance, including most of the big hits, though not all the jangly early ones. They closed their two encores with a one-two punch of "Space Saviour," the terse, glammy highlight of their newest record, and the Starfish warm and fuzzy, "Hotel Womb." My only real regret was that they didn't find the time to work in "Sealine," the anthemic opener from 2003's Forget Yourself, since more than any other track, that song serves as a symbol of The Church's welcome, late-period resurgence.
Headliners The Church touched on as much of their overstuffed discography as they could during their two-hour performance, including most of the big hits, though not all the jangly early ones. They closed their two encores with a one-two punch of "Space Saviour," the terse, glammy highlight of their newest record, and the Starfish warm and fuzzy, "Hotel Womb." My only real regret was that they didn't find the time to work in "Sealine," the anthemic opener from 2003's Forget Yourself, since more than any other track, that song serves as a symbol of The Church's welcome, late-period resurgence.
