The Greeting Committee made space for grieving the past and romanticizing the future at their incredibly present ‘Everyone’s Gone and I Know I’m the Cause’ Bowery Ballroom show in New York City.
Stream: ‘Everyone’s Gone and I Know I’m the Cause’ – The Greeting Committee
Time works differently in the summer, I’m convinced, all this stopping and starting and suspension.
The thickness of the air promised rain, eventually, though it was unclear when. Before I knew it June had crept into July and it was time for The Greeting Committee to grace the stage of Bowery Ballroom.
I found my trusted spot, leaning on a pillar to the left of the stage. As a relatively tall person, I try to stick to the sides of the room and block as little of the stage as possible for the folks behind me. My date was short, standing in front of me, and it was hard to imagine her point of view, even in platform shoes. “This is a short crowd,” she mused, then looked at me as if to say write that down.
My sweat was finally drying as the opener, Toledo, came on. Their song “Jesus Bathroom” was sent to me a few months ago actually, a friend referencing the bathroom in my apartment: A reverent space with gaudy tile we decided to style with a crucifixion shower curtain, roman candles, an assortment of crosses and other haunting tchotchkes. Explaining this to my date, she did not seem afraid. A good sign.
The audience buzzed at the recognizable, fuzzy start of “Tell Me I’m Wrong.” The Greeting Committee’s guitarist, Noah Spencer, wore a suit without feeling formal somehow. Addie Sartino sported a smart vest and short pairing while Pierce Turcotte went with a classic button down. They moved fluidly, with their entire bodies, and so much energy it felt like a shift in the atmospheric pressure of the room.
“Is This It?” played and I started dancing in earnest. I couldn’t help it. Toward the end, the crowd began jumping at that insistent beat.
The friends I made inside my head
They were choking on medicine
To cure themselves of what doesn’t exist
While I was peeling my old skin
Rip me out again
This song is proof that The Greeting Committee are masters in the best genre of music: upbeat songs with heart wrenching lyrics, bonus points for a coming-of-age context. The band then launched into my favorite song on the new album, Everyone’s Gone and I Know I’m The Cause, “Little Bit More” is a playful invitation:
I’m a matchbox lit
I’m a restless fit
When I come up short
Will you love me just a little bit more
“Little Bit More” went straight into “Sex and Taxes,” which was such a satisfying sequence. The propulsion from the pre chorus to the chorus felt like a pull to sway your hips.
She goes down like loving is just a bad habit
Never had it this bad like she has to have it
There was an onslaught of cheers when “You’ve Got Me” started, clearly a fan favorite. The communal feeling went beyond this consensus. The Greeting Committee had this subtle charm that made the crowd feel connected to them, and to each other.
I was surprised when a handful of people in the first couple rows began holding up little pieces of paper reading “Happy birthday Noah.” I didn’t know if all their concerts were like this, but looking back, it did seem like there was an extra level of anticipation at this show. It felt like a celebration, really, before I knew what we were celebrating.
Strobe lights signaled the start of “popmoneyhits.” It is arguably the danciest song on the album and I had so much fun watching the audience respond with their hands up.
I want dirty, dirty rich, babe
Dirty, dirty rich
I want pop, money, hits, babe
Pop, money, hits
Sartino took a minute to explain that the band had been doing this, performing together, for 10 years, playing all the stages they used to play as an opener now as a headliner. “We haven’t had this much fun performing in awhile though,” she said.
The band are seasoned performers, making it look effortless to engage the crowd. Singing “Where’d All My Friends Go?” it felt like Sartino was asking us for an answer in the final lines, a plea of an outro, and incredibly compelling.
Don’t know why I need your attention
Don’t know why I did it again
“Sort of Stranger” brought out an intensity to the performance. Sartino was laying on the ground, taking turns sharing verses with Spencer, leaving it all out there.
I won’t say your name again
I’ll hate words that resemble it
I won’t say your name again
I won’t say your name
The sweetness of “Honey Toast” brought the breeziness back to the set, the promise of a fresh start.
I’ll be a stranger at the party
I’ll be something new
I’ll be sweet to you
I’ll be honey toast and coffee
Brushing arms, moving together, my date lit up when they began to play a cover of “BIRDS OF A FEATHER” by Billie Eilish. She actually jumped up and down, before pulling out her phone to record a clip of it, which made me laugh.
The echoing effect on “Cyclical” was cool to hear live. The momentum of the bridge is why their songs work so well, and this one is particularly smart with a nod to an older song.
I’ll rip the doorframe
I’ll call for days
I’m always waiting
I’m waiting always
With another satisfying transition, they played “Call In The Morning,” and I was blown away by Sartino’s delivery of the monologue. I truly could not take my eyes away, the way she was hunched over, almost yelling, convincingly angry and desperate and searching.
This is what love is for?
Getting sick over and over
I cannot find another you
Call the police
Call the police
After what felt like an intense roller coaster of emotions, she walked off stage. My date looked at me in a panic, but it couldn’t be over yet. As if on cue, Sartino rushed back on stage and hurled us into “Don’t Talk.” A fitting response.
Then came the moment my hopelessly romantic high school self was holding her breath for. “Hands Down” started and Sartino said, “It’s like we’re in an indie movie.” It was all very cute, especially when she gave the crowd permission: “You can kiss now.” My date and I kissed for the first time and laughed at the staged moment. Though I have to say I was grateful for the prompting, being new to dating again.
Baby, you’re hands down the best thing about me
And baby, I don’t know where I was
But I’m so glad you found me
After the encore, Spencer came back and played drums. Slipping into the final song, “Pull It Together,” the crowd sang along:
Hey kid, you been down?
You got yourself some good company now
The bridge built to that little guitar riff, the keys a jangly tune of hope. It was a perfect note to close on, an open ending.
Outside, I met an old friend who came into town just for the show. I met his friends and he met mine and, energized by the band, it was decided that the night was just getting started. We all went off in the summer air, lighter after rain.
— —
:: stream/purchase Everyone’s Gone… here ::
:: connect with The Greeting Committee here ::
— — — —
Connect to The Greeting Committee on
Facebook, Twitter, TikTok, Instagram
Discover new music on Atwood Magazine
© Tyler Krippaehne
© Tyler Krippaehne:: Stream The Greeting Committee ::
