Finches @ Hemlock, review, photos

Last night I saw one of the local bands I’m listening to, the Finches (myspace) at the Hemlock.

I’d never been to the Hemlock before. It’s a bar with a music space in the back room. The back room is tiny, smaller than most, if not all, of the other venues I’ve been to in SF. It’s a nice space and the sound was good.

The band that was up when I got there was a guy (Stephen) who goes by French Quarter. Immediately after I got there, he did a slowed-down, finger-picked version of Stayin’ Alive, so I was immediately in (slowed-down and interesting covers of mainstream tunes almost always reel me in).

The French Quarter guy is the sort that even I made fun of in high school: his pants were too small, his sweatshirt too big, wearing a headband, with unkempt hair and not wearing shoes. But his songs were good, just guitar and vocals. Heartfelt, sincere and interesting. I bought an album from him after the show.

I’m going to skip over the middle band. The Finches were headlining and I’ll just get to them.

Carolyn and Aaron were nice and gentle, actually. Between that and their music, I found it very appropriate when Carolyn revealed that they work with pre-schoolers. Their set was nice and I enjoyed it overall. They finished with my three favorite songs: “House Under a Hill”, “Daniel’s Song”, and “Last Favor.” Daniel himself, Carolyn’s brother, was standing right behind me, so that made for an ultracute moment, there.

View the full photo album here. Check my previous post for some mp3s.



One Response to “Finches @ Hemlock, review, photos”

  1. [...] As I mentioned, a guy who goes by French Quarter ( opened for the Finches on Saturday. I was checking out his merch and was torn as to which album to get. He said that one was “more fleshed out” and the other was “sparse and depressing”. I picked up the latter, which ended up being Brotherly Love and Judgment. It is sparse and depressing. In situations where a songwriter leaves almost nothing between him and the listener—no production, orchestration or fluff—it’s a really make or break situation. Brotherly Love and Judgement succeeds, I must say, grabbing a foothold on the first listen and gradually climbing in. It is lo-fi, so it may not be for people who require smooth recordings and lots o’ fidelity, but if you can make it past that (or enjoy even more because of that) then you’ll come out a winner. [...]

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