Metric + Spoon at Lollapalooza 2010: Live review

Oh, Metric, how can I measure my indifference? I've never understand the devoted following of this utterly generic pop band, who, and this is being generous, are like the Yeah Yeah Yeahs with anything interesting, potentially offensive or unique sanded off the edges. A shirtless dude next to me was asked by his bro, "What's up with Metric? Who is Metric? I keep hearing about Metric?" Shirtless dude said, "She's this crazy hot [or crazy, hot?] Euro chick. Bangin'." He was referring to Emily Haines, who is blond and thin, like her voice. One dimensional guitars and synth, almost interchangeable, struggled to be heard under the booming, stock drum patterns. "Help I'm Alive," the first track off the Canadians' latest, got some blood pumping, though. Otherwise I've already forgotten this set entirely. [Yes, yes, I realize earlier I said I prefer all Broken Social Scene side bands to Broken Social Scene. This just underlines how little I care about Broken Social Scene. Fire away below.]

Britt Daniel, dressed in white jeans and white tee, took the Budweiser stage solo, strumming an acoustic. It was the first of a few bold, if unwise, moves for playing a festival—like playing late-career songs that are closer to krautrock or mere keyboard effects. But Spoon is such a minimalist act—studio geeks thinking down their taut, arty power-pop to the most basic of bass-lines and sneering vocals—that the end result comes across loud and clear in these settings. It's cool, and songs from the under-appreciated Transference thwomp harder on stage, but the crowd obviously goes nuts for hookier numbers like 'The Underdog." The Austinites often drift into studio chin scratching, but they're damn good at it. But with the band playing every single summer, it's hard to muster the enthusiasm for the tenth time. But I manage.

Photos: Lollapalooza 2010 Sunday
Photos: Lollapalooza 2010 Saturday
Photos: Lollapalooza 2010 Friday