Somewhere in this darkness lurk a drummer/singer, a bassist and a guitarist.

[For my earlier insights on the band, check out my 10 Listens review of Telekinesis' 12 Desperate Straight Lines.]

It had been nearly eight full years – two presidential terms – since I’d been inside Mercury Lounge. I did the math while killing time toward the back of the place, near the sound guy, looking around and for the first time in a long time remembering a place pretty much as it was. Often, places shrink – elementary school for damn sure, high school strangely so, college, not really – but this was a remarkable spot that has remained in proportion to my memory of it. It could just be that I’ve stopped growing heightwise in that span, the depth of course having taken over, but I also like to think there’s something more to it.

In any event, it’s a great place to see a good show, like the one I saw on Wednesday. The Love Language opened for Telekinesis and I’ll go in that order, too, because The Love Language is worth writing about, and listening to. The five-piece band is from North Carolina. The lanky lead singer, Stuart McLamb, vaguely resembles Canadian actor Justin Chatwin, who plays the expressionless Steve on Shameless and showed up on LOST as commune turncoat Eddie. I only bring up the connection because it sort of informed the performance: McLamb’s look and singing, and to a small extent the music, has a sleepiness to it, in a good way. He sings like Julian Casablancas, only in tune, and the melodies have an old-school jazziness to them. But he and the band complement that dreaminess with a hell of a lot of expression. The band played with an energy that, by design, didn’t spill over into ferocity – strength without anger. McLamb himself aimed for the high notes and hit them full-on, only occasionally resorting to falsetto. It all combined for a powerful effect that was much more than I’d expected. I plan to check them out further.

Then, Telekinesis. Michael Benjamin Lerner, whose full name I’ll continue to use because I don’t know what he goes by informally, was setting things up on stage after I’d returned from getting drinks. He wore a maroon hoody and a backpack, and his thick-rimmed glasses, very much projecting an almost disarming youthfulness. He later walked past me to talk to that sound guy – and that too is hardly a brag. It’s more that I was struck by the intimacy of the venue, and really that sense of connectedness. For many years there I cut down my concertgoing to the basics, but I felt renewed indeed to be at a show for an act that’s still very new, and with any luck or justice still on its way up.

Lerner, as I’d read and then saw in person, drums while he sings, a hipper, latter-day Don Henley. It was also eerie that news of Phil Collins’ retirement was fresh the very week of this show for the same reason. And Lerner’s a fantastic drummer, too – it was clear on the record and was wonderfully confirmed in person. And he looks to be having great fun with it, so I can see why he’d want to do both. I got the impression that he almost wasn’t as comfortable singing, as if he’d rather not, but an acoustic set with him on 3/4-scale guitar (or so) put that to bed. But I can say that his simultaneous singing and drumming, while impressive, slowed some of the songs down a little bit. If anything, songs are usually sped up in concert. The effect, while relatively slight, was still noticeable.

For the show, the one-band band was fleshed out with a bassist and a guitarist who was a little too proud for his britches, seeming to take too much credit for playing capable on guitar on tunes he didn’t write or record. It’s like a Nine Inch Nails touring guitarist taking a huge bow instead of being more modest about it. Clearly it rubbed me the wrong way, but anyway: During the acoustic set, Lerner played guitar and sang while the guitarist took over on drums. These four or five songs were a nice touch but let too much air out of the room. For having two records’ worth of punchy songs, these guys, while entirely within their rights to do so, made the venue seem more like a friend’s basement, which is occasionally enviable but more often excessively disillusioning.

Despite all these criticisms, much of what I just wrote was splitting hairs. Telekinesis was great to see live. Lerner was humble and thankful to be back in New York, playing these songs, which was nice to hear as well. My favorites of the night were probably the heavier “50 Ways” and “Car Crash,” which I enjoyed more than on the record. They ended the show with “Coast of Carolina,” joined onstage by The Love Language, then played “Tokyo” by themselves as the encore. The end of the show was the best part, for all the energy that was onstage. I always hope bands that flash that level of enthusiasm would muster it earlier, but Telekinesis did more than well enough all night.

[Normally for bands I know sort of well I'd have a setlist to offer. This time, I lost track of the songs and my notes didn't always jive with my memories. So no dice. I've been beating myself up about this, actually. Oh well - I was happy to enjoy the show. I don't want to spread disinformation, but I can say for sure these guys played, "You Turn Clear in the Sun," "Please Ask for Help," and "50 Ways," in that order to start the show. During the acoustic middle portion, they played "Imaginary Friend" and a Teenage Fanclub cover, "The Concept." Somewhere in there, possibly right after the acoustic set, they played "I Cannot Love You." And toward the end, "Palm of Your Hand," "Dirty Thing," "Car Crash," "Country Lane," "Coast of Carolina," and "Tokyo." There was also a Guided By Voices cover, probably "Game of Pricks" because it's on a Telekinesis single, done live that night with a guest vocalist maybe named Brian, maybe from a band called Massive. Maybe.]