Mangum’s publicist commented that the show did not signal the beginning of a comeback, but was rather a move to aid an old friend in a time of crisis. No matter what the reason is, though, Mangum’s presence on the bill no doubt but fueled the furious philanthropy that sold the show out in twenty minutes flat on Kickstarter (I know this because I too was there, obsessively refreshing the page, to bring Ghastlypants the scoop) (and to buy myself a ticket) (yes I am going) (OMG). At last glance, the show brought in over forty grand, all of which will go to benefit Knox and help him in his recovery. To ensure this, the organizers are taking a firm stance against scalpers, electing to revoke ticket privileges from those who attempt publicly to sell their slots.

Finn Family — “It’s Love”

The track above is off the compilation. Even though it has nothing to do with most of what I said above, I am posting it because it made me smile. You can (and should) buy the album here.  And, although the show is sold out now, you can still track the donations and contribute here at Kickstarter.

Joe’s Pub is part dinner theatre, part dark nightclub, part music venue, and (unlike most New York venues), they like to keep things on the clock. There was no opening act, and Kate got onstage promptly at 7:30 with her guitarist (and, mixing business and pleasure, her husband) Kier Nuttall. Awash with the gorgeous lighting of the venue and clearly stoked about the receptive crowd, the pair opened with “Politics in Space.” This song is agreeably percussive and funny and a great opener. Listen here:

Kate Miller-Heidke — “Politics in Space”

It is true that Miller-Heidke is quirky and deserves the comparisons to famous alien pop lady weirdos (cheap comparisons I’ll save for other blogs, really). But she also has her own peculiarities: her voice changes pitch and octave in unpredictable and interesting ways, and she’s really used to using it as an instrument (like on her single “Can’t Shake It”). She also gets downright gritty sometimes, banging feverishly on the piano keys and roaring like a demon, or unleashing operatic notes as her tambourine breaks on her hip. These moments are when I like Miller-Heidke best (but everyone who knows me knows that I have always been one for Vegas-lounge-queen-grade melodrama). This is why it surprised me whenever she showcased one of her more traditionally written songs – predictably progressing piano ballads with emotional lyrics, lovely but somewhat too Lilith Fair (songs like “Caught in the Crowd” and the platinum-going “Last Day On Earth”, both tidy and nice but not for me).

But I don’t want to quibble. The set was clever, well played, interesting, and great fun to listen to. Miller-Heidke’s stage banter (something that I usually cringe about *cough* TORIAMOS *cough*) is absolutely endearing and won’t pander to anyone, including the audience or the venue – at one point she stopped and proclaimed that she had never before played anywhere that smelled of “such pungent fish,” referring to the food a patron in front was enjoying. And we got to hear her excellent Britney Spears cover, complete with the aforementioned opera flourishes. Really, if you like music with personality (and clearly you do or you wouldn’t be here at Grizzlypants), and you are lucky enough to be in one of the towns Miller-Heidke and Nuttall will be hitting on their tour, you should go hear out their rather incomparable pop brand.

Finally, for some topical humor (as opposed to the “tropical humor” of the malaria-related practical joke Mike tried to play on the office after one of his Africa jaunts), hear out this little ditty:

Click here to view the embedded video.

Richard McGraw — “Hurting Heart”

1. The beginning verse — sung with an endearingly breaking voice — acknowledges the wrongness of the narrator’s love situation (you’re with someone else now), and makes a self-conscious reference to the song itself (“so I wrote you this song”).
2. 45 seconds in, McGraw introduces the man-versus-himself theme (common in country, bluegrass, and all other types of classic songwriting) of wishing to overcome personal bias in order to become a better man.  In this case, better-mandom involves bearing the love interest’s ring at her wedding; enter the devastating emotional crux of this song.
3. He follows this revelation with the wordless relief of an infinitely sing-along-able “La la la” refrain.  Note this refrain; it will proudly reappear in Point 6.
4. McGraw then introduces a tinge of wry humor that both acknowledges the desperate predicament and dismisses the new partner as inferior and even gimmicky (“I could teach you how not to let go / But why you wanna learn that girl I don’t know / Your bohemian friend has got you tied up now / And I don’t think that you’ll ever come down”).
5. Then, enter the chorus twice, to set up for the final crescendo: 
6. The second layer of singalong chorus: “I know it’s all wrong, I know it’s all wrong” layered WITH “La la la” — a genius sticky songwriting move ensuring you’ll be singing this song for days. 
7. A clean outro reminiscent of the beginning of the song, but also invoking the tidy way that the narrator decides to disengage with the situation.

Bingo, Richard McGraw.  You’ve hit the nail of heartache square on the head without hammering that shit to death.  You understand subtlety; this much I know from your MySpace, which proclaims you’ve never used the words “California” or “LA” in a song.  Brilliant movez all around.

Now, if any of you Greatpants readers reside in New York the way that I do, you should know: McGraw will be performing on Friday March 5th at the American Folk Art Museum, as part of the Free Fridays, along with readers from the Underwater New York project.