Sherwood with The Matches, The Higher, and We Shot the Moon at The Knitting Factory on February 2, 2008
So I ran halfway from the parking garage to The Knitting Factory full of excitement and nervousness with my two friends – Cassie and Liz – trailing behind. I strolled up to the window just to be embarassed with, “I’m sorry, you’re not on the list.” Crap. And the show was sold out. After a few phone calls and some really awesome people, the three of us were able to arrive fashionably late mid-set of the opening band.
Jonathan Jones - Vocals, keys, guitar, and mastermind of We Shot the Moon
We pushed and maneuvered about half-way up to the stage and settled into a nook in the crowd to enjoy We Shot the Moon. They looked pretty average – guitars, drums, bass, keys – but their sound was remarkably impressive. Johnathan’s vocals were mature and controlled. The keys were a refreshing throwback to unadulterated piano, but the heavy drum still made you want to get up and dance. If Ben Folds decided to do power-pop, I think this is where he’d end up. They had already convinced me of their idea, but when “Welcome Home” came on, it won my heart. Maybe I’m just a sucker for a good slow jam, but this is download worthy – legally, of course.
The crowd was pretty mellow through WSTM, and it was obvious a lot of us hadn’t heard them before and were hesitant to get into the groove. As soon as The Higher came on though, people got their feet moving. Front man Seth was quick to step right up front and steal our attention. I could feel how much he loved performing – and he’s great at it. He wasn’t afraid to make eye contact; he sang a few lines to me while making crazy eyes.
Seth of The Higher
Their sound ranges from dance-y and funky on songs like “Insurance” to heavy tracks like “Diaries.” I hadn’t noticed while listening to their album, but Tom’s voice is very “pretty.” With his look he reminded me of Taylor Hansen meets American Idol. It definitely worked for the crowd though – everyone in the place was dancing and jumping whether or not they knew the songs. Some of the tunes were less memorable than others, but the best part of the set was when Seth announced, “I’m gonna play a song you guys know” and started in on “Histrionics,” which is both their best (and shortest 
) song!
Shawn Harris, The Matches
So next up on stage was The Matches. I’d only heard one of their songs, “December is for Cynics” off of Santa Cause, a Punk Rock Christmas, which I really like, but I was told, “Fuck The Matches” by a friend upon hearing the line up of the night’s show. I didn’t know what to expect. Out come these kids, color-coordinated in black and red to the string intro of “Salty Eyes” and Shawn Harris steals the mic like he owns the stage. Who the fuck does he think he is? Initial reaction — they pissed me off. This asshole looks like Johnny Cash reincarnated as Gerard Way with vocals reminding me of Brandon Reilly of Nightmare of You. This fucker is clad in polka-dots and a little girl’s red sweater, but I got into the music.
Although I wanted to hate them, I couldn’t take my eyes off. The whole band’s “I don’t give a fuck” metality made me want them–when is that not true? I realized I knew a few of their songs. I found myself singing along to “May your organs fail before your dreams fail you!” The heavy drum and the bass groove got me shaking my hips and thowing my head simultaneously. Before I realized it, they were on their last song. Awh, over already? That’s the sign of a good set.
Nate, lead vocals of Sherwood
Nate Henry of Sherwood
The long-awaited Sherwood were up next. By this time, I had made my way up front. I was so anxious for their set that when I noticed a roadie put down the set list, I asked a girl in the crowd to take a picture of it on my camera. I was stoked to find they had a lot of my old favorites prepared. I’ve seen Sherwood a couple of times since they toured with my favorite band The Rocket Summer in 2005.
They got off to a rocky start – for the first song and a half, Mike’s keys weren’t on. After the glitch there was an immediate change in Mike’s attitude, and he became his crazy usual self that I remember–bouncing around on stage and letting out somehow-harmonious screams of exultation.
Dan Koch, sexy beast according to drunken girls.
I had gotten it in my head when I saw Sherwood open for The Academy Is that I didn’t like their new stuff. Maybe it was that I just didn’t know it, but this time I got into it. Their newer album is a lot less acoustic and sounds more processed with the drum machine like in the song “Alley Cat.” At the show though, they played an acoustic version that gave me chills. “Learn to Sing” and “I’ll Wait for You” still remain my favorites, but their new dancier (yes, I just created that word) tunes are to my liking. I was pissed off that some drunk girls were shouting over a gorgeous heartfelt “This Airplane is a Ribbon,” but I loved it (along with Mike and Joe blowing bubbles) all the same.
Mike,. Sherwood's designated wild man
I know I usually make a few comparative references, but to me, Sherwood is just Sherwood. Their style is simple and heartfelt. They don’t ravage the stage or dress like a bunch of douchebags to get your attention, but that’s because they don’t need to. Sometimes on stage they can look a little lackluster, but just close your eyes and feel their music. Because that’s what it’s really about, right?
I left with a major high (what can I say? music is my drug) and the ladies and I scored a sweet West Aspen Merch demo CD and Forever the Sickest Kids stickers outside. Leaving a show is always the worst part… until you get into your car and listen to the bands all over again.
Stay classy, scenesters. <3 Steph
p.s. for more photos, check out the Sherwood album on our Myspace
