Little Teeth
Little Teeth

Little Teeth started off this 6pm Noise Pop show at the Rickshaw Stop. This local band consists of three members that switch from one eclectic instrument to the next, playing mandolins, cellos and random percussion attached to microphones. Their sound is experimental, making good use of a loop station, as well as off-beat and very loud (I seriously thought my ears where bleeding at one point).

Dannie Murrie, the lead singer, had an eccentric personality that reminded me of a modern Janis Joplin, using every sound her throat could make and belting it out. The band plans on releasing a full-length album on Absolutely Kosher Records sometime later this year.

Up next came Tally Hall, five guys from Ann Arbor, Michigan wearing white dress shirts and different colored ties. Before the first song started, their music video “Good Day” played, which showed each member intertwined with random images, such as kids going down slides, television screens inside of television screens and words flashing back and forth like a flipbook.

The band’s sound was solid geek rock, a mixture of Weezer and the Beastie Boys. The members were very witty on stage and even sang a whole song in Jamaican accents about bananas. Tally Hall’s set peeked with a cover of “Praise You” that the crowd went crazy for.

Capgun Coup was the third band of the evening. This new addition to Conor Oberst’s New York label Team Love is a little angrier than most bands you’d find on their roster. Their sound is dancey rock and roll and annoyed at the same time. Toward the end of the set, the lead singer said, “This next song is about fascism. Enjoy it.” That pretty much sums up their live sound.

Next came Tilly and the Wall, the golden children of Team Love, who might also be the happiest band of all time. Each member, including their token tap dancer that functions as the band’s rhythm section, had smiles from ear to ear as each of their folky, dancey, charismatic tunes rang out. Playing a conglomeration of hits off Wild Like Children and Bottom of Barrels, the band also threw in some new material that had a Gwen Stefani, hip-hop feel to it such as their single “Beat Control.”

The band had killer stage presence and the three core singers sang back and forth, bursting out that famous Tilly and the Wall sound. Against their black-light backdrop of a huge eyeball and an array of rainbow balloons, their set was immensely entertaining.