The title certainly implies a rather blasé attitude toward the series of drastic (although not necessarily life-altering) events that Sayid literally shot into motion last week, but I’m sure Hurley would disagree. And he isn’t the only one suffering some slight befuddlement from having to live through the past, which has already happened before even though his present self is just now experiencing it for the first time. Everyone on board? Now for a tour of what I consider to be the highlights of everything that happened exactly the way it was supposed to, starting with little Ben’s big predicament:
“He needs a real surgeon.”
Once again, Jack faces the same conundrum that first presented itself when an adult Ben lay on the operating table with his spine exposed. And once again, Juliet refuses to just let the guy bleed out. Admittedly, this time around that would probably create more problems than solve them, but one still has to admire the tenacity with which everyone tries to keep little Ben alive despite knowing that his future self tossed them rather rudely into the ninth circle of hell. I guess they all understand on some Faradian level that Ben simply can’t die, but I find it interesting that they take this responsibility upon themselves while Jack would rather let the island resolve everything on its own, believing that Ben is going to live whether he helps him to or not. Perhaps he also feels some residual satisfaction at telling Kate he is not going to do this for her—again.
The Dashboard Confessional an angst-ridden 14-year-old version of me loved so much was the one of The Places You Have Come to Fear the Most and The Swiss Army Romance. Chris Carrabba was just a guy with a guitar and a broken heart. “Hands Down” was just an acoustic track off the So Impossible EP, and Carrabba’s outlet was unabashedly emo and indie–two words that were only on the verge of having negative connotations. I never saw Dashboard at that point in my life, and I ultimately grew out of it. But seeing Carrabba live has always been an unchecked item on my bucket list.
So when the opportunity to not only see the band but meet Mr. Dashboard Confessional himself, how could I pass it up? In hindsight, everything is 20/20. I could have.
I didn’t go inside for opener Cobalt & the Hired Guns. It sounded like quite the mess from outside the building. And my sources inside confirmed as much.
After a good 30 minutes between sets, Dashboard emerged. The 5-piece outfit established from the beginning that this is not the Dashboard of 2001. The band emerged one at time, building anticipation, with Carrabba coming out last. They kicked the off with “Don’t Wait” from 2006’s Dusk and Summer. Carrabba, in a fedora and standard tight jeans, moved into “Rooftops & Invitations” from the same album, but then took it back to the band’s earlier days with “The Good Fight.” The band only featured five songs from the 2006 or later. What plagued all of these, however, was the muddy musical quality. The band just ended a three-month touring break and their out-of-practice status showed, though the quality did improve toward the end. Moreover, it was clear for the whole 15-song set that Carrabba’s strength is neither his songwriting nor his vocal abilities. It his earnesty. (more…)
Dashboard Confessional played Page Auditorium last night (see the review here). Before the show, frontman, core member and Banana Republic sales rep Chris Carrabba took some time to talk to me about the musical project that has defined his past decade and his basketball preferences.
Andrew Hibbard: So before we talk about music, I want to ask you a question. I’ve been reading your Twitter and need to know something. Are you a Duke fan?
Chris Carrabba: I’m a lifelong Duke fan. I’m a double Duke fan when they play Villanova?
AH: To music. You’ve been performing as Dashboard Confessional for almost 10 years now. You’ve gone from being a solo act to performing with a full band. Tell me about the changes and the future of the band.
CC: Well, you know, I think it’s cyclical. I’ve gone around it a few times, playing by myself a few times, then one or two or eight, then going back to myself. I think that’s the reason I’ve stayed interested in it, because I’m in other bands too. I always find myself doing Dashboard instead because I think this is the–there’s the least boundaries within this band. Plus I love relationship I’ve been kind of fortunate to have with my audience. It’s personal and unique. So I’ve got to say that’s why I’ve stayed interested, because you can only play the same songs up there in front of people. Every year I put a record out, but you’re still basically playing the same songs for years. And it’s the genuine heart that those kids bring with them, and the fact that they care–seem to care–as much as I care about it–maybe more, strangely sometimes. That’s what makes me able to do it for as long as I’ve done it. And maybe, hopefully be able to do it for many more years. (more…)
Bombadil (Duke alums!) will release its second LP Tarpits and Canyonlands July 7 on Ramseur Records, the same label that the Avett Brothers exploded on. To build some anticipation for the release, they have released a short documentary about the recording of the album in Monroe, NC. Check it out below.
The band is playing Raleigh’s Lincoln Theater with Benji Hughes and Lost in the Trees April 10.
