Show Review: Father John Misty w/ La Sera & Jeffertitti’s Nile at Terminal West – 10/18
The Grand Ole Opry, a smoky honky-tonk, American Bandstand… These were all places seemingly experienced in just a few hours this past Thursday night at Terminal West. The relatively new venue for the Atlanta music scene is, by the way, nothing short of spectacular (though it took us a bit to find). Part of the vast King Plow Art’s Center, the feel accompanies as the name implies, an old train terminal. With brilliant red stage curtains, a scenic balcony, two well stocked bars, and most importantly clean and tidy restrooms, the venue is casual while maintaining a bit of class. But enough with sparkly urinals, we’ll just leave it with if you haven’t been there, make it a point to go.
Jeffertitti’s Nile kicked off the night and was a personal favorite. Jeffertitti plays bass for Father John Misty, but most definitely holds his own as a front man. His reverb/fuzz laden guitarscapes are about as far out as the galaxy he wears on his pants. With heavy synths and a steady bass, not to mention drums by J. Tillman himself, the night’s start was full of high energy.
La Sera, brain child of Katy Goodman (Vivian Girls), took the stage second. Taking a much more bubblegum pop approach than Katy’s previous band, La Sera kept the crowd moving, though at more of a sway than full on dance. They were a definite counterpoint to their preceding Los Angelinos, which was enjoyed. An assortment in bands is always appreciated, but often unseen.
Finally, J. Tillman and crew took the stage as Father John Misty. If you’ve followed Tillman’s career at all, you most likely know him as a former drummer for Fleet Foxes. I was first introduced to Tillman’s solo efforts through La Blogotheque’s Take Away Shows. Though I truly enjoyed his previous efforts (especially 2009’s Year in the Kingdom), with his new moniker he’s kicked it up a good bit from the ‘man and his guitar’ act. He’s an extraordinary front man with the moves of a glam rocker, minus the eye shadow. Ever the humorist with a straight face, his mid show banter is top notch making him admirable and might I dare say ‘cool’.
FJM started the night out with their album’s opening track “Fun Times in Babylon,” and spent the rest of the night working through the rest of the songs off of their debut record. Highlights of the night included “Now I’m Learning to Love the War,” when Tillman donned his destroyed aviators and staggered about the stage like a wounded crooner rising up from the bottom.
By the end of the night, the crowd seemed thoroughly satisfied, and as corny as it may sound, the crowd was one of the most appreciated aspects of the evening. I don’t know if it was because of the people themselves, the venue, or the music that had drawn them there, but between all three, the show was most definitely grade “A.” – Patrick McAfee