DO MAKE SAY THINK at the Biltmore Cabaret
Since the DJ madness of Glory Days finds its home in the underbelly of the Biltmore Cabaret on Saturday nights, all concerts must end at 11pm so that the audience can be shepherded out of the venue to make room for a new group of fans. I arrived at the Do Make Say Think show around 9.30pm, catching the end of the last song of the opening band. I could tell right away that the vocals would bother me, so it was ultimately for the best that I missed their set.
Do Make Say Think began their set promptly at 9.40pm, but not without a quick introduction from one of the guitar players. “My stance is that I love to dance. I understand that there’s a dance party here afterwards, and that’s great, but we’re here to play some rock and roll.”
They’re promoting songs from their sixth and latest full-length release, Other Truths, which was released on 20 October 2009. The four tracks are smartly titled “Do,” “Make,” “Say,” and “Think,” which I’m surprised didn’t happen sooner. Three of them clock in at over ten minutes, but we post-rock fans know that those are usually the best ones. The band is obviously aware of this, since the end of a song (which seemed like three songs bleeding together into 15-20 minute masterpiece) was followed by “Thank you very much! Now we’re going to play a separate song,” which cracked up the audience. Every song is as epic as the one before, and they all end the way most bands would end a full set. The music sounds like the end of an era, a great machine grinding to a halt. The shrieks and calls of one particular audience member remind me of a bizarre mating ritual, though thankfully nothing stranger ensued from the noises. This show was the only time I’ve ever been okay with someone breathing down my neck, because of the dreadful humidity, and the longer songs seemed to exaggerate the temperature. I couldn’t believe how hot it was in the venue!
DMST boasts a brass section, since all the cool bands have one these days, and it seems like the newest addition since the keyboards. Julie Penner accompanies on the violin. She was the only one I could see for most of the show, but she was one of the best to watch because of the passion in her playing which matched the ebb and flow of the melodies. Though the guitar player who did most of the talking insisted throughout the set that they’d play until they were kicked off of the stage, DMST stopped playing at 10.40pm so that we could encourage them to continue for another 20 minutes (but we’re all pretending that they left the stage and came back for an encore). Julie Penner ended the encore with a tambourine finale, which was great to see. Who doesn’t appreciate a good tambourine?