Augustines Welcomed Home At Rough Trade NYC

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New York – The other night was not only the last day of a lengthy tour for New York’s Augustines (formerly We Are Augustines), but it was also a hometown show. The Brooklyn natives returned to the city that heavily inspired their debut Rise Ye Sunken Ships to play a riotous set at Rough Trade NYC. Billy McCarthy (formerly of Pela), Eric Sanderson and Rob Allen took the stage rather early and quickly announced that there was a DJ set booked after them. The band members assured the audience that that only meant that they couldn’t “play like five encores.” The announcement was disheartening, but the night would prove that, despite the DJ waiting in the wings, the indie rock band would also take their sweet time relinquishing the stage.

The evening began with an instrumental swell that the band members built into the opening lines of “Nothing to Lose But Your Head” off their sophomore album Augustines. Unfortunately it was a false start offset by a technical difficulty. Wires and guitars were checked and everything was reset. The band laughed it off and announced a do-over. They ran back behind stage and re-entered to even louder applause. From that point forward nothing could stop the tour de force that was happening on stage. Mic stands fell and guitar pics ripped, but McCarthy and his bandmates inventively skirted each tiny disaster. McCarthy’s energy was electric, Sanderson bounced around stage with a giant grin on his face and Allen held it all together.

It seemed to be a special show for everyone. The tour was ending, the band was back home, the audience was full of friends and no one was letting the impending DJ set spoil the fun. When the band launched into “Chapel Song,” the lead single off their debut, the room just about exploded. Everyone knew the words, everyone was shouting along—it was incredible. After several shouts from audience members for “Cruel City,” the band answered with a powerful live version. It was followed by “Juarez” and the haunting “Walkabout.” The latter, featured in the upcoming movie The Judge, was paired with the soft-spoken admission that the song would soon be “playing at a theater near you.” The band was quietly humble about their recent successes throughout the show. In their banter they mentioned a documentary, future international shows, but always took a moment to continuously thank the audience in some way. Everyone in attendance seemed to be just as thankful to be there.

At that point it seemed like nothing could challenge the cumulative joyous fervor that the band had built in the room. It was an imperfect set, but that didn’t diminish the attitude of the audience. It seemed just as it couldn’t get any better, it did. McCarthy announced that he had a surprise, then without warning launched into “Waiting on the Stairs” by Pela, his old band. A good number of Augustines fans are probably Pela fans that followed the lead singer to his new project when Pela disbanded. The way with which the audience greeted the opening track from Anytown Graffiti proved that theory. The song was appropriately followed up by “Augustine,” the song from which McCarthy’s new band took their name. Everyone joined in for the lines “Well to hell with New York City then. New York City can go to hell.” McCarthy called out for “Brooklyn” every so often and each time he was met with shouts of equal enthusiasm. One woman yelled that she had come from Boston for the show. A man down front pointed to Sanderson, who pointed back with a smile. McCarthy bowed to a clutch of friends, his hands together in thanks.

Everyone seemed content with the set, except for the one guy who wouldn’t stop yelling, “play ‘Headlong’.” The complaint seemed oddly timed as the opening organs and snare of “Headlong Into The Abyss” drifted out over the audience seconds later. The audience sang and clapped and stomped the whole song through. Calls for “Weary Eyes” weren’t met in the same way and instead the band closed with “Book of James.” McCarthy quieted to let the audience shout an out-of-key chorus, before picking the vocals back up.

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There were shouts of disapproval as the set finally did wind down. No one seemed to want to make room for the DJ set, despite having already gone over time. McCarthy tapped his wrist and shook his head, putting down his guitar. There was a glimmer of hope as he and Sanderson talked quietly by the synth. There were more shouts for “Weary Eyes” and several for an encore. Allen emerged from behind the drums and all hope seemed lost. Equipment was being struck. It looked like the show was over, but no one was ready to go home. Then McCarthy walked to the edge of the stage.

“This is your part.” He said before conducting the audience members through their part of “The Avenue.” The audience could barely stifle its excitement, but quieted down when the song started. McCarthy belted out his part, Sanderson strummed away at his guitar and Allen with a shaker in one hand helped cue the audience. The stripped down encore took place with the three bandmates huddled on the edge of the stage. It was the best way to end the show. When the song finally ended, still no one wanted to go home, but the band left the audience with quite the ending. They had put their hearts into a high-octane performance and ended their tour with a graceful decrescendo.

Go here for more on the Augustines.

Zoe Marquedant

Zoe Marquedant

Zoe Marquedant is a Marylander now living in Brooklyn. She recently graduated from Sarah Lawrence College where she majored in Journalism and English literature. She is a freelance journalist, who primarily writes on music and culture. Her work can be seen in Boston Magazine, Highlight Magazine as well as on rsvlts.com, mxdwn.com and Baeblemusic.com. When not writing, Zoe is probably working her way through a new series on Netflix, researching new pie recipes and collecting dumb jokes (e.g. Two fish are in a tank. One turns to the other and says, "You man the guns. I’ll drive.") Follow her vain attempts at mastering social media at @zoenoumlaut
Zoe Marquedant