The Garage Lights Continues To Be Syracuse’s Next Indie-Rock Juggernaut
The five-member band delivered an exciting performance in Liverpool, NY.
By: Noah Weinberg
The Garage Lights undoubtedly made the most out of their fourth-ever performance at Sharkey’s Bar in Liverpool, NY. Although the band is unabashedly influenced by legendary indie-rock groups like The Strokes and The White Stripes, this five-member collective left their authentic mark on the thirty-or-so wide-eyed members in attendance.
With multicolored strobe lights backlighting the group, lead singer Avaana Harvey exuded a contagious energy that captivated the audience atop their dimly lit stage. Harvey seemed blissfully oblivious to the mostly empty indoor pavilion. Whether she was hopping around the stage like a giddy Tinker Bell during the percussive “Catalyst” or exclaiming, “fuck” after several passionate repetitions of “run away” on “Bitter Girl,” Harvey’s stage presence was palpably magnificent.
The band’s instrumentalists deserve some serious recognition as well. Guitarists Ben Webster and Celso Pérez put forth a collection of jumpy guitar licks that were as substantive as they were dynamic. In addition, Bryce Meuschke’s expert bass playing provided noticeable depth to the band’s production, especially during the live debut of “Coming of Age.” Not to mention, Oji Anderson’s glee-filled exuberance shined through with every pound of her drums. Throughout the night, the band’s musical quirks were comfortably in tune, a testament to The Garage Lights’ countless hours of preparation for this show. A couple of standout moments from the night include the thumping bass on “What You Know,” the groovy escalations on the opener “Jamie,” as well as the entirety of the stripped-back ballad “Sweet Child.”
That isn’t to say that the band’s performance was perfection, though. A track like “New York Melody” sticks out like a sore thumb for its grungy sonic palette, which left much to be desired. Furthermore, the song’s writing was repetitive in all the wrong ways, resulting in a product that was more whiny than impassioned. The most glaring problem with “New York Melody,” though, was Webster’s dreadful vocal performance. Harvey and Webster attempted a harmonious duet, but the result sounded harsh to the ears due to Webster’s lack of melodic variation and off-key melodies. Simply put, Harvey obliterated Webster in terms of expression, vocal timbre, and pitch accuracy.
Webster did prove to have a better-than-adequate singing voice later on, though. On a cover of The Strokes’ “Modern Girls & Old Fashioned Men,” Webster’s soothing Julian Casablancas-esque vocals complimented Harvey exquisitely, all while over a climactic soundscape dominated by Pérez and Anderson.
The band’s apparent final song of the night, a cover of The White Stripes’ 2001 hit “Fell In Love With a Girl,” showcased just how exceptional this group can be. In an act that wholly encapsulates the group’s euphoric energy, Harvey, Pérez, and Meuschke gleefully sprinted around the venue like they were in the middle of a competitive game of tag. At the same time, Webster and Anderson controlled things on stage. In addition to singing spectacularly in his best Jack White impression, Webster simultaneously strummed the song’s power chords on his guitar. That’s not easy to accomplish in front of dozens of admirers, but Webster made it look effortless.
When The Garage Lights’ track and field team made it back on stage, they were met with whooping cheers and yells of “encore, encore, encore!” Eager to oblige, the band came prepared with their rendition of Metric’s “Black Sheep.” The track’s pulsating rhythms and upbeat guitar solos were a perfect cross between new wave and indie rock, making for a fantastic conclusion. After the band bid farewell, concertgoers’ smiles were broad, and the enjoyment from The Garage Lights’ performance was practically tangible. The Garage Lights’ April 21st show wasn’t flawless by any stretch. But the band’s preparation, inventive instrumental choices, and discernable talent made it everything one could have asked for.