- “Between ‘No Wow’ and ‘Alphabet Pony,’ the Kills were forced to stop the show for about 10-15 minutes while fire fighters investigated some kind of problem high above the stage. This was a very odd experience, and obviously, it damaged the momentum and aura of their show. It snapped us out of their spell, and though they could conjure it all up again with a flick of the switch, something was lost. But hey, it’s not their fault.” (Fluxblog)

- “The show was amazing. The Police took us back in time to 1983 and made me feel like a teenager again. Andy Summers was able to coax perfect notes and riffs from guitars that must be older than me; some of them were wooden and their paint had been worn off long ago! Sting’s voice was right on the money; he hit the notes with absolute precision and inserted even the ad-lib bits in the same points that they appear on their albums. In many respects, Stewart Copeland stole the show. While he is not only the drummer for the band, also supplying a healthy dose of percussion instruments in a variety of songs, he also oozed energy and that was infectious.” (The Hardest Quest)

- “Last week I went to see the band She & Him, a duo made up of the singer/songwriter talents (and utter cuteness) of Zooey Deschanel, and the folksy alt-country pop music of M. Ward. … Everyone in that audience wanted Zooey Deschanel as a BFF after that concert … SO ADORABLE! Webster Hall also gets a thumbs up. Just South of Union Square, it has a marquee like an old cinema (which I have a definite thing for), and the interior is a shelled out swing-dance hall that’s been updated with a mirror ball and weird red-lit wall moldings of zodiac signs.” (New New Yorker)

- “Destroyer’s songs are wordy, introspective and incantatory bedroom/park-bench epics. … The typical Dan Bejar song begins with a simple strummed pattern, him uttering a rambly, colorful half-spoken, half-sung monologue and then rises to a chorus of melodic dadadadadadas, as if Bejar had run out of words and begun vocalizing his meaning. His voice is high, nasal, a bit raspy, almost boyish. Musically, Bejar’s more experimental pop. Lyrically, he’s more Woody (Allen) than Dylan, and his music has a contemporary, indie sensibility, so much that the tag “singer/songwriter” is misleading — which is probably why he calls himself Destroyer. Viva irony.” (Wayward Blog)