Posts Tagged ‘Singapore’

Jolly Frog goes ribbit, ribbit.

May 22, 2010

It’s been a while since I last posted something on food. Now that the concerts and events have died down a little, I think it’s time to get back to that. Just don’t drool all over the keys, alright?

The last time I was down in Singapore for Stereophonics’ concert, I had my friends take me around for some nice eating spots in the fine city. After a late night of club hopping, we kickstarted our Sunday morning with some hearty breakfasts. And we chose this cosy little gourmet cafe – Jolly Frog, around the Chinatown precinct.

A bit of love on my Cafe Latte to brighten up my day as I flip through the morning papers. Heh.

Despite being a late riser, I adore breakfast platters. The sausages, the buttered toasts, the scrambled eggs, the crispy bacons – oh the bacons. So, of course I went for the one on the menu that screams the loudest, “Eat me! Eat me!”

I suppose you can’t go wrong with the Jolly Big Breakfast (SGD15). It’s got everything you ever need for a filling breakfast: toasts, eggs, sausages, roasted tomatoes, sauteed mushrooms, and did I mention – bacons?

Another yummylicious breakfast to try out is the Eggs Florentine (SGD11.50). Drizzled in Hollandaise sauce that drips onto the plate sensually, poached eggs, toasts, baby spinach and – why yes – bacons.

But if you’re not up for a big appetite so early in the morning, or you just want to eat healthy or watch your weight, try out the Cinnamon French Toast with fair trade bananas in organic yogurt (SGD7.50).

Or the Roasted Portobello Mushroom Bruschetta with goat’s cheese and wild rocket (SGD10.90).

They don’t have no bacons though. Boo.

I thought Jolly Frog was quite cosy. Small but spacious enough to fit in enough people for a cheery morning. There is also an al-fresco dining area for someone who would like to have their morning meals outside.

Sure, the weather in Singapore can get quite unbearable sometimes, but lucky for the patrons, Jolly Frog’s cooling system on the outside and inside is good enough to keep us comfortable as we drag on our breakfast sessions well into the afternoon.

So, if you’re looking for some place to cure the hangover from the night before, or if you may, bring that someone you bedded the night before for some nice breakfast, Jolly Frog would be an appropriate place to visit. It is located along an almost deserted road, and the cafe is low key for that quiet moment.

And look, they have fresh and bright gerberras – one of my favourites. Now, who would not want a tint of sunshine on your table as you enjoy some jolly ol’ brekkie? Heh.

++
Jolly Frog Gourmet Bistro Bar
81 Neil Road
088905
Singapore
Opens weekdays @ 9AM-11.30AM; weekends @ 9AM-2.30PM
T: +65 6222 9227
E: enquiry@jollyfrog.com.sg
W: http://www.jollyfrog.com.sg

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Language. Sex. Violence… And a missing slipper?

May 4, 2010

Event: Stereophonics live in concert
Date: April 30, 2010 (Friday)
Venue: Fort Canning Park, Singapore

A local DJ was on stage that evening, blasting through the speakers throngs of Britain’s best music. From a couple of numbers by Tears For Fear, who will be stopping by Singapore themselves not soon after, and the now disbanded Oasis. Everyone sang along, “Because maybe / You’re gonna be the one that saves me / And after all / You’re my wonderwall”, reminiscing the last time these Brit lads stopped by the country before they went their separate ways, while prepping for the other decade-old band who will be taking the stage very soon.

It was a good thing the concert was at Fort Canning Park. The ground is slanted the way an indoor stadium is built, so no matter where you stand, you will still be able to see the stage. So, it is quite a good thing for me who has height incompetence. The only beef for me, was the PDA couple standing in front of me at the beginning of the show. The guy’s entire head was blocking my view, and not only that, I only got to see the full view of Kelly Jones in between their constant kisses.

Mind you, I don’t have problems with PDA couples. You want to show the world you are in love, kissing and touching and hugging each other every other second, by all means. I wish you a happy marriage with lots of kids. But just. Don’t do it right in front of my face when I’m trying to enjoy the one good thing in my life for being single.

Half of the 5,000 strong crowd that night was made up of foreigners. Some from Wales themselves, like the band; one of them even bore the Welsh flag. But things got somewhat hooligan-ish for me sometimes, what with the beers being served and all. A fight almost broke out right in front of us too. And something more – offensive – which will be mentioned later on this entry.

Stereophonics opened the last show on their tour with lukewarm numbers of Live ‘n’ Love and A Thousand Trees, before taking things up a notch with I Got Your Number, Superman and Doorman.

Hidden in the dark at the side of the stage were more than 10 guitars propped upright like those selling in guitar stores. Throughout the show, Jones, Richard Jones and Adam Zindani would change guitar for every new song, practically more often than a hygienic nut would switch underwears.

But I would like to believe Jones’ true rockstar soul lie in the well-worned strings of his cherry red Gibson SG he has been known to perform with throughout his years of showmanship. Every time he positions the well-polished and lustful guitar on his right hip, he would churn out hair raising guitar solos in Superman, Doorman and Trouble that would make the most uptight person in the crowd headbang to the addictive beats.

Seeing that it was their Keep Calm and Carry On tour, Stereophonics hit quite a number of tracks from the album, including the only slow number that’s becoming a quick favourite for many – Could You Be The One? Paired up with that were older darlings: Maybe Tomorrow, Mr Writer (I thought I heard someone doing a solo number on the piano, or was it just a recording), The Bartender and The Thief, Have a Nice Day… and gasp, when did Javier Meyler go all shirtless at the back? Yum.

It was a shame though, that they did not perform much from Language. Sex. Violence. Other? and Pull the Pin, two of which I favour more over the rest. Stereophonics’ older albums were more languid, and perhaps that is how they flow since 1992, and that is how the fans like them. But it would have been a loud and insane show with Deadhead, Devil and Soldiers Make Good Targets thrown into the playlist. And it would have been sweet to hear It Means Nothing, Lolita and Stone live as well. Alas.

But. When the familiar introductory chords of Bright Red Star chimed through the speakers, and the stage lights went down to a deep sensual red, my heart soared. The moment I have been waiting for since Kelly Jones told me they play the song every night has arrived. It’s my favourite song.

However, it saddens me that Vern was right. For every few seconds that I could break myself from the crowd to pay close attention to Jones’ raspy and breaking voice that sang the lyrics oh so carefully, and Zindani’s bright and clear closing solo, I was immediately snapped back to earth. There were two guys behind me who suddenly seemed to be talking all too loudly in their Singaporean twanged English, and in front of me, another couple moving their heads in and out of my sight to say something to each other. I looked around me, and everyone was just.not.listening. Perhaps I am the only one in the world who likes Bright Red Star, when everyone else craves for Dakota or Mr Writer or Have a Nice Day. Meh.

Things took a turn towards the end when the band broke into the famous Local Boy in a Photograph. Everything was fine and dandy, when suddenly, someone from the crowd threw a slipper onstage and hit Jones square in the face. As the rest of the band continued playing, the lead stopped and moved away from the microphone. He then put down his guitar; he was not at all pleased.

Perhaps he was angry – he flew all the way from the UK to play one last show for us, and this is how we repay him? Perhaps he was embarrassed and hurt – decade-old rockstars or not, to get a slipper thrown at you (and hit your face, may I add), it’s just plain saying, “You suck. Get off the stage.”

Jones picked up the slipper, held back his emotions (I would like to believe), said good night to the crowd, and walked off the stage. R Jones, Zindani and Weyler followed suit.

Everyone was stunned. Some booed, some cursed. Some wondered was that it, was the show over just like that. Some checked their cameras to see if that priceless moment was caught in their frames or not. Later, as the security guards escorted the slipper culprit out of the concert venue, everyone booed at him as he passed by.

I just stood there. I felt bad for Kelly Jones.

Fortunately, Stereophonics came back on. (It would totally suck – especially for me, mind you – if that was really it). But something in the air shifted. Although Jones tried to keep calm and carry on (sorry, can’t resist it), thanking the crowd for coming out before delving into the encore of The Bartender and the Thief, not even trying to make sarcastic or comedic remarks on what just happened earlier. I am sure everyone in Fort Canning Park that night, including the band, knew it was just not the same anymore.

The concert came to a quick end with Dakota. The band trying their best to steer things right again for their last show of the tour. The fans jumping and singing along to Jones’ repetitive lines of “So take a look at me now / So take a look at me now / So take a look at me now”. Yet, nobody could help bring things to the kind of perfect ending we all hoped for.

Despite Stereophonics paying lesser attention to my favourite albums, people around me not being as civilised as I hope they would be, and the whole slipper incident, not to mention the fact that I have to fly all the way to Singapore just to see them two days later, I am still glad I caught them live. I could not help but smile every time. Hearing Jones’ whisky voice that I have heard so often I’ve made it one of the most distinguishable vocals I favour. Seeing him crunch out all those splendid guitar solos on his beloved cherry red Gibson.

I have made Kelly Jones one of my favourite vocalists for a long time now. To get to see him live that night, and not to mention meeting him in person, it is definitely something I would tell my grandkids about someday.

Florence hits the XX spot.

February 9, 2010

Event: Florence and the Machine + The XX live in concert
Date: February 7, 2010 (Sunday)
Venue: Esplanade Theatre, Singapore

It has been a while since my last concert stint, let alone one that goes on in Singapore. Not counting MTV World Stage and the humiliating pukefest at Hennessy Artistry, the last full fledge concert for me was Coldplay‘s back in March. That is almost a year ago. Even when I heard the throngs of bands making their way down to Singapore in January – ie. Yeah Yeah Yeahs, Green Day and supposedly, The Killers – I could not even find it in me to make myself go to any of it. Like a guy who couldn’t get it up after being abstinence for a year.

It was on New Year’s Day, after spending another lonely New Year’s Eve the night before, when I woke up in the morning and decided I would like to go to a concert. And since I have made The XX’s self-titled album one of my top 5 favourite albums of 2009, I thought it was only right to go to their concert last weekend. Besides, SGD73 for two bands – that is a fucking steal for me who just wants to reawaken my concert bug.

I knew I should have bought the floor seatings, even though the seats left were the ones way at the back. Because when The XX came on stage and Jamie Smith fired up the MPC with Intro that opened the album oh so well, as if it was part of their gimmick, the crowd from the floor seatings flooded to the front of the stage almost simultaneously. It was quite a sight, actually. But me, being way up on the second level, could only watch and brood, and remind myself never to buy balcony seats. Ever.

Seeing The XX live, was like being transported into the twilight zone. What with Smith’s captivating beats, and Romy Madley Croft’s guitar riffs, which could probably be an entirely new band member on its own. And the switching strobe lights of yellow, blue, red and green on the simple set of double X’s. It is easy to just close your eyes, and feel the melodic strums of Crystalised, Islands and Night Time seep into your veins. I did just all of that, but I think I fell asleep during the last song, Infinity. I don’t care what you say; it was a long day for me, alright?

It is not to say I do not enjoy seeing them live, but I suppose there is nothing to shout about. I was not expecting much anyway. They were pretty much the same as they are in their album. Croft (who sometimes sounded like Lisa Hannigan with a perpetual sore throat) and Oliver Sim were not the best singers out there, but they pretty much made up for everything with their instruments, which we already knew upon listening to XX. They played almost everything off the album, except – of all songs to leave out – Heart Skipped a Beat, which was my favourite, and Stars.

And just like that, the first half was over, and the next thing I knew, I was standing in line to go to the washroom with a quivering bladder. Heh.

Things sort of perked up when it was time for Florence and the Machine. I, for one, definitely was refreshed when Florence Welch strolled out to the stage with her flowing skirt and legs that go on for fucking miles.

All you lucky ones by the stage, I hope at least one of you grazed her legs for me – either purposely or accidentally – instead of just reaching for her hand, and taking pictures with her. Throughout the night, I was just waiting for her to throw back her skirt one more time just to have another glimpse of her lovely legs. Heh.

I thought they would have picked a better song to open their set than My Boy Makes Coffin. But the crowd did not mind. Right after that was the debut single that put Florence and the Machine on the map to stardom – Kiss with a Fist. Upbeat and contagious, everyone was dancing and banging their heads along to the beat.

But I especially love what she had done to Blinding, my favourite off the album Lungs. With Christopher Llyod Hadden’s profuse and prim thumps of the drums and Tom Monger’s staccato riffs on the harp, to go with the ten yellow lights beaming at us at the upper levels, and Welch’s perfectly toned voice for the chorus of “No more dreaming like a girl so in love, so in love / No more dreaming like a girl so in love with the wrong world”. I could feel every beat of the drum, and every pluck of the strings, and every syllable of her words. Like a tattoo etching a reminder on my skin – forever.

It could pretty much be the climax of the show.

Sexy legs aside, Welch is pretty much a chirpy character onstage. Although I found it rather amusing when she rambled on on how glad she was to be in Singapore and the fine city (no pun intended, or is there?), I thought it was cute of her when she started entertaining two fans at the front with their polaroids – snapping shots with them, and even took a couple of the crowd with the house lights on.

And it was a beautiful sight – but yet again, an envious one – when she got the entire crowd jumping in unison to her fun loving Dog Days Are Over. Ah, to be in the midst of the crowd then.

Florence and the Machine pretty much performed all the songs off Lungs – the screamus maximus Howl, Drumming Song that sounded too much like Beyonce’s Crazy in Love for comfort, a cover of Cold War Kids’ Hospital Beds, and for the finale, another beloved number – Rabbit Heart (Raise it Up) with the fans hitting her back with echoes of “Raise it up, Raise it up!” along with Hadden’s catchy rhythms.

It was nice to be able to include Florence and the Machine and The XX on my ‘have seen live in concert’ list, especially since they are quite new a band to even consider swinging by Singapore. With the crappy seats I have (and for that, I apologise for the crappy concert pictures again), and the fact that they are less than 5 years old as a band, and also that I am new to them as well (I actually only checked out Florence and the Machine for the sake of the concert, really), I do not really have any expectations for them to blow me away.

It was a good experience, nonetheless. Florence and the Machine over The XX, though. Lesson learned, of course: if I were to see them live again, I will definitely make sure to get floor seating tickets, even if it is only to be able to graze Welch’s lovelies. Heh.

Onward the Prospekt’s March.

March 25, 2009

Event: Coldplay live in concert
Date: March 23, 2009 (Monday)
Venue: Singapore Indoor Stadium, Singapore

Two things. One: Singapore has this eeriely perfect vibe going on, it gives me the creeps. Two: I have been having an upset tummy since last Friday so if I wrote out of line for this entry, blame the tummy.

On to more serious business. I did not receive any news that there was going to be a supporting act for Coldplay that night, and I was quite surprised to see Mercury Rev, an American psychedelic rock band probably as old as I am, warming up the stage with Jonathan Donahue’s strangely outrageous body antiques and their famous tracks like The Dark is Rising, Goddess on a Hiway and Holes. Not to be biased, but Mercury Rev did sound quite good live compared to their studio tracks. Alas, the sold out crowd of more than 10,000 was restless because they paid good money to see Coldplay. And when Donahue announced it was their last song, the crowd roared with applause, not because they loved the band that much, but because the minutes towards Coldplay were running out.

For the half hour leading up to their appearance, the crowd was teased with songs from all over, shooting nothing straight at the British rock band. There was even a thin black cloth let down on stage covering the entire set. And I was totally caught off guard when Blue Danube started trembling the inside of the stadium. I thought Live Nation had gone bonkers for playing a classical waltz piece, but enjoyed watching the crowd going at the clapping and conducting all the same. Then, as the last fortissimo notes blasted off the air and the lights suddenly went off and the crowd went crazy. I changed my mind; that was a fucking brilliant idea for an introduction.

Being in the industry for about 10 years and with four albums under their sleeves, Coldplay knows how to get the crowd going. They played all of their upbeat songs, leaving the more solemn ones from Parachutes in their grim hometown. They also made sure they hit all the popular tracks so the crowd of more than 10,000 could sing – or scream, more like it – along with them. There were Violet Hill, Clocks, In My Place, The Scientist, Fix You and of course, the song that started them all in the first place – Yellow.

I liked it also that they had spent time with the gimmicks on stage. Before that, all of the concerts I have been to, the backdrops were either bare or merely accompanied by timed LED screens. Coldplay took the time out to even change the backdrops: from the Viva La Vida album cover to the logo, even had a montage of them playing live there and then, and one of Japan during Lovers in Japan.

There were balls of projectors hung from the ceiling, screening mini shots of the big screen on stage. There were even giant yellow balloons let off from the ceiling and the crowd during Yellow, whereby half of it was made out of fans in their mid-30s and mid-40s, suddenly turned into little kids, hands reach up to the sky groping for the balloons. Those of us on the sides could only watch and pout as we could not have a bounce at the balls. Meh.

And I liked it when the confetti rained down on us – or more so, once again, at those in the centre – during Lovers in Japan. It was as if Japan was brought right into the stadium that night, and the confetti was like sakuras falling on us when the spring breeze blew past the garden of Eden. It was a beautiful sight.

I liked it that there was a bunch of crowd interaction going on. There were two runways on each side of the stage, where Chris Martin would often bounce – seriously – himself down to the sides, giving out high fives and waving hello’s.

The entire band squeezed themselves into a corner on the right runway, as they launched into a minoric medley of God Put a Smile Upon Your Face/Talk before Martin took over with his piano solo medley of The Hardest Part and Postcard from Far Away on his trustee sidekick of a piano. Then, before they went on a break, they high fived their way up to the left wing and stood amongst the crowd performing an acoustic version of Speed of Sound and a couple of cover tracks.

And I loved, loved, loved the Mexican phone wave during the break. Before the band ran off for a short break, Chris led us into a little activity, where very much like the Mexican wave, we would use the light on our cell phone screens to do the wave. I tell you, when they dimmed the lights and everyone was doing their part for the wave, it was pretty.

When Coldplay burst into the opening chords of Viva La Vida, it was as if the hefty lawsuit on plagiarism never happened at all. The fans did not care as they sang along to the bridge of wo-oh-oh-oh-ohhh… and very much still even after the concert and the crowd had spilled out of the stadium. And Coldplay certainly did not care; performing the song in front of a very satisfied 10,000+ crowd was like giving Joe Satriani a big fucking middle finger.

Chris Martin may be a crowd-pleaser for his fast  songs, but when he kicked up his tail coat and took charge of his piano for the slower songs, he was a heart wrecker. When he started the eerie opening of Fix You, the crowd went on another bout of screams while I stilled myself and listened to his words: “When you try your best but you don’t succeed / When you get what you want but not what you need / When you feel so tired that you can’t sleep / Stuck in reverse…”

Lovers around me looked at each other with a loving look before embracing and swaying to the song, and friends wrapped arms around one another as they sang along to the chorus of “Lights with guide you home / And ignite your bones / And I will try to fix you” . I was like a solo entity at that moment with goosebumps spreading on  my skin. When the band joined in for a powerful second half, I felt tears dwelling in my eyes as they crooned in unison: “Tears stream down your face / I promise you I will learn from my mistakes…” The organ that derived from a solitary church and the soothing words like a sinner’s peek into the Bible. I have always been one to put my life in the hands of a rock & roll band, and that night, Chris Martin had my entire life – body, heart and soul – in his hands.

The concert may have gone on for a mere two hours, but it felt like forever. Remember in my Jason Mraz concert review I said he was one who was conceived on stage, well, Coldplay is the one giving birth to Mraz. They made the stage. So what their gimmicks were already seen in some other parts of the world. So what their ending song was not that perfect – the confettious Lovers in Japan would have made a perfect finale compared to Life in Technicolor II, which should have just been done at their opening. So what Coldplay is facing plagiarism charges for Viva La Vida.

I am sorry Ben Gibbard. This is Death Cab‘s performance on top spot of my life. This is Coldplay giving a good kick on their behinds and taking over their spot there.

I asked my friend once how was her recent Coldplay concert in Australia and she said: “Do you even have to ask? They were like Gods!” And believe you me, they were.  They were.

PS: And yes, it sucks you could not be there. *laughs in your face*

Spending some time with the Cutie.

August 13, 2008

Event: Death Cab for Cutie concert
Date: August 12, 2008 (Tuesday)
Venue: Esplanade Concert Hall, Singapore

It could not have gotten any better with the concert seats we had. Front row seats with the stage merely one step away, with nothing obscuring my lacked of height’s view but the flattened wires and speakers in front of me. And when Ben Gibbard came out and decided to stand at the microphone just right in front of us, we went down on our knees and thanked the good Lord of Indie-hood for our fortune. It was worth every fucking penny we forked out.

The lights dimmed and the crowd went absolutely bonkers. Ben appeared on stage sporting new sideburns with no glasses, followed by Nicholas Harmer and Chris Walla with their guitars, as Jason McGerr slid to his seat at the percussion. Without wasting any time, they dove into the familiar intro of Bixby Canyon Bridge – which I realised some days ago that it sounded like Marching Bands of Manhattan’s – and the entire concert hall just lost it. Fuck the comfy seats, practically the entire crowd was standing with their hands in the air. When Jason came in with his heavy beats that seemed to guide the heartbeats of every fan in the room, I just know my legs would have to fall off first before I stop tapping along to their contagious thumps. From then onwards, Ben Gibbard and company were Gods, and we were their worshippers.

They performed songs from all of their albums. Touching the three older albums, in case there were fans out there who were familiar with their older stuffs. And indeed, there were. Playing the new ones from Narrow Stairs for the new fans hopping on the death cab. Not forgetting Plans, but still biasedly leaning a hell lot to Transatlanticism. This, my friend, is a bittersweet thing for me, but I shall get into it later.

When Ben exchanged his electronic for his acoustic guitar, we knew something good was about to happen. After finishing Soul Meets Body, the lights went an oceanic blue and he introduced the next number to be a “love song”. As if already memorised the Death Cab Bible from back to front, the crowd cheered as Ben went into the opening chords for I Will Follow You Into The Dark.

The fans can sing along all they want, but my attention was all for Ben only then. My eyes could not leave his drenched form, and my ears heeded every single syllable coming out of his lips, words I have heard too often to sing me to sleep. When it came the time for the most brilliant line of lyrics in the song, my eyes started to water: “You and me have seen everything to see / From Bangkok to Calgary / And the soles of your shoes…” If I were to drop dead then, I would have died a happily comforted and loved girl.

Followed close behind was the song that brought Death Cab back on track with Narrow Stairs, I Will Possess Your Heart. Judging from the lengthy opening for the song from the album, one would expect something phenomenon on the brink of happening when they performed live. How one by one, every instrument joined in and slowly built up a memento for Ben’s first verse: “How I wish you could see the potential / The potential of you and me / It’s like a book elegantly bound but / In a language you just can’t read”. Hearing it on the album was like an appetiser. Hearing it live was like a fucking gastronomic main course.

They did a faux exit, just like every band performing live would, after The Sound of Settling. While the fans screamed for an encore, I sat in my seat calling for the Gods of Indie Rock once again to please, please, please, have What Sarah Said on their encore set. Time was already running out, but my favourite song had yet to grace the blessed mouth of Ben Gibbard. Every time he – or Chris – headed towards the keyboard by Jason’s percussion set, my breath would pause only to let go in disappointment when they started off on something else. And this also did not happen often, as they preferred strings to keys. I have gotten so desperate that whenever Ben approached the microphone, I screamed out “Ben, play Sarah!” Alas, he did not even look up or acknowledge my call of despair.

Death Cab For Cutie came back onstage with their oldest number for the night: Your Bruise, from their first studio album, Something About Airplanes. I admit, I have only gotten on the bandwagon completely when I heard Plans, and before that they were merely name drops for me. So, yes, I did feel bored when they hit on tracks I have not heard before like Live Here, Company Calls, Title Track and this. Heck, I even decided to head to the ladies’ when they performed Expo ’86. But, I would have to say, this is probably the better one that night from their older numbers. And that is saying a lot, because I have yet to find a common ground with their old sound just yet.

Then, came Title and Registration, a song I have learned to adore with the lovable line of “The glove compartment is inaccurately named” alongside side the cheeky melody of the song. After No Sunlight, followed Tiny Vessels. As Ben’s heart aching lyrics went “She is beautiful but she doesn’t mean a thing to me” alongside the lonely strums of the guitar, I held my face in my hands like I would cradle my heart. And when the opening of Transatlanticism so gracefully followed suit, I knew Ben would not be telling us who was going to watch him die that night.

But I guess I could not totally hate them just yet, because Transatlanticism was also a favourite of mine. I could be downhearted and disappointed all I want, but the moment Ben sang “The distance is quite simply much too far for me to row / It seems farther then ever before”, my heart melted and I found myself on the brink of tears again. The lights bathed him again in the hues of the Atlantic, the crowd quieted down to listen to the powerful words of “I need you so much closer”. Till this day, it is still a mystery to me how these six simple words could be so gripping just by repeating themselves again and again. Hands raised above heads as eyes closed to dip bodies in the ocean, and the melody built up one last time to a powerful climax, to a powerful finale. I could not find a better ending to a Death Cab concert, if it were not the prolonged buzzing semi breve of this song.

All in all, I cannot say it was the best concert I have been to. (Sorry Ben, but Damien is still holding the top spot). But I would say it was still a nice experience. All concerts I have been were great experiences. None really sucked just yet. But for this, it would have been a better one if they communicated more with the fans, and make the concert more interactive. The only times they ever spoke to the crowd was just to say hey, or ask if we were doing OK. Well, no, Ben, I was not doing OK. You literally brushed me off when I was certain you could hear me loud and clear when I asked for What Sarah Said. Heh. And yes, the concert would have been a couple of notches better if he had somehow fitted Sarah in the list.

But still, it was a mission accomplished for me. Since l heard Plans, I have been wanting to see them live, envious very much of the fans getting to attend their gigs almost every day in the States. Although they decided to stop by Singapore instead of Malaysia, it was still worth it. Like I said in the beginning, try to top my concert seat, because it ain’t getting any better than that.

Note: More pictures will be up soon.