When Courtney Barnett first barged into the scene back in 2013 with The Double EP: A Sea of Split Peas, I was floored. I couldn’t get enough. The Modern Lovers-derived, cheeky lyric-infused catchy songs were addictive. Literally. For, like, two years straight I listened to Barnett’s music multiple times a week. It wasn’t healthy. I’d listen to the songs before I’d go to sleep because they were stuck in my head, but the infectious melodies would energize me to the point of not being able to fall asleep. I was not a morning person.
But it was too much. I got burned out. Too much of the same music can do that to you, and if you really overdo it, it will ruin the music for you permanently. This happened to me with Billy Joel. It’s not that Billy Joel writes bad music, it’s just that I heard it too much. Nowadays, whenever the sound of Billy Joel is emitted from the intercom of a CVS I happen to be shopping in, I have to quell my oncoming apoplexy and refocus my attention on which overpriced toothpaste I’ll buy this time.
I started to feel this condition setting in with Courtney Barnett. As a result, I effectively went on a Courtney Barnett hiatus. When she came to Union Transfer last time around, I didn’t even go. I could sense myself getting worn out.
Fast forward to this year’s NonCOMM. Courtney Barnett was on the bill, and I wasn’t even excited about it. I was stoked to see Starcrawler and Jeff Rosenstock, but Courtney Barnett was an afterthought. I went to Barnett’s performance anyway, figuring I had nothing better to do. The energy in her set was palpable. The new songs were still catchy and witty, but a bit more structured that the stuff from the Split Peas era. Instantly, the hiatus had ended. I was re-obsessed and committed myself to seeing her upcoming show at the Fillmore in October. Continue reading →