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Our week at the Cosmo

The Postal Service (COURTESY: AL POWERS)
The Postal Service (COURTESY: AL POWERS)

Of Monsters and Men: April 17, Boulevard Pool

High point: Icelanders. Of Monsters and Men were charming, accented, extremely talented performers who felt more like a family than co-workers.

Low point: Supreme degrees of assholery. Possibly the worst audience I’ve seen as a music reporter, definitely the worst of the year. Drunks who belonged in daycare, not a concert setting. MAX PLENKE

Hot Chip: April 18, Boulevard Pool

High point: Cut rugs. Experiencing the British quintet’s “Over and Over” in a crowd of what was almost exclusively fans of the band is a lesson in what a pool show should always include: actual fans of the band, not comp-ticketed jagoffs.

Low point: Since the above was true, the pool area was only about half-full, leaving what may have been a disheartening gap from the stage point of view. M.P.

The Postal Service: April 19, Chelsea Ballroom

High point: The highlight for most was touring instrumentalist/vocalist Jenny Lewis, who was fittingly introduced as “the pride of Las Vegas” by band co-founder Ben Gibbard. Gibbard was cheered equal to Lewis for his vocals and guitar, but decidedly less for his looks. “Make sure you write that Jenny Lewis is hot,” one fan from Los Angeles urged. “I love her,” said another, as Lewis traded her guitar for a drum set. “Jennyyyyyy!” everyone screamed, all night long. Popular singles “Such Great Heights” and “We Will Become Silhouettes” from 2003’s Give Up were favorites, judging by the rumble of the upstairs venue floor, which flexed noticeably as the audience danced.

Low point: Fans were polite but unenthusiastic about new material. Also overheard during “Sleeping In,” the appropriately drowsy, JFK-themed singalong from Give Up: “This song is bullshit. It’s the filler of the album.” KRISTY TOTTEN

Band of Horses: April 20, Boulevard Pool

High point: Ben Bridwell. The quintet’s congenial frontman kept an attentive audience, even during the quiet, pretty Horses tracks, with comfortable banter and absolutely leaving it all out on the floor (case in point: battling his own runaway voice through the tougher high notes of the last songs of the set).

Low point: Playing any of the songs from last year’s Mirage Rock. We know you gotta sell the new shit, but we would’ve been just fine partying like it’s 2010. M.P.