50 posts tagged “minneapolis”

Initially, I was a bit dismayed when I found out that Antony and the Johnsons would be playing the Pantages Theater on Valentine’s Day. His music has an underlying melancholy and heartache to it that I wasn’t sure would fit well with America’s most saccharine of holidays. But the show turned out to be the perfect antidote to all that sugary artificial sentiment, for Antony’s performance was about as real as they come, and was one of the most stripped down, vulnerable performances I’ve seen in recent memory.

Taking his place on the bench of the grand piano where he would stay the entire show, Antony and his backing band of six musicians came out to a warm ovation from the near capacity crowd at the Pantages. The musicians (or Johnsons, if you will) consisted of a drummer, bassist, cellist, and three others that swapped instruments throughout the entire show, switching from violin to acoustic and electric guitars, oboe, and saxophone during the course of the set. The orchestra provided stellar support to Antony, whose delicate and understated piano playing often guided the song forward at the onset, but never really became the focus of the arrangements. That focus was placed squarely on Antony’s beguiling falsetto, which carried the night to its exalted heights and kept me awestruck and captivated all evening long. His voice does take some getting used to, being part cabaret/part operatic, but it’s filled with a level of emotion and honesty that isn’t found in most modern music, and imbues his music with a haunting, impassioned lucidity that is rare in any art form these days.

The stage remained shrouded in darkness throughout the performance (explaining the lack of quality in my photos), with the lighting and backdrop done up in understated white tones. Antony eased into the evening with “Where Is My Power,” a b-side to the “Epilepsy Is Dancing” single, taken from Antony’s brilliant new record The Crying Light. Things got a bit more solemn with the touching, eloquent “Her Eyes Are Underneath The Ground,” whose lyrics “In the garden with my mother I stole a flower” took on added significance by the fact that Antony’s mother, father and brother were all in attendance. He alluded to his time spent in Minneapolis by telling a story about walking by First Avenue earlier in the day, realizing the last time he’d been there was when his father took him to see Nina Hagen. He was too young at the time, so his dad had to get him in. Antony laughed when he said his father only stayed for a couple songs. “Epilepsy Is Dancing” was next, and it was a soaring tour de force. It’s truly an epic, heartbreaking track that escalated nicely to a dramatic, stunning finish. “One Dove” gave the band a chance to show off their chops a bit, with a stirring oboe solo that added a gorgeous layer to the song. The show really didn’t have any low points, other than very slight pacing problems, for the song selection was perfect throughout the set, and all the tracks were performed with an elegance and candor that isn’t often found in the music industry these days.

Other standouts from the superb set include “For Today I Am A Boy,” “Another World” and a version of “You Are My Sister” that brought forth audible gasps amongst the crowd around me. It was as moving and passionate as music can be, a touching ode to the dreams of loved ones getting realized, again made even more enthralling knowing that his family was in the crowd. “Twilight” followed, and was simply stunning, made even more so by the accompaniment of the orchestra, who guided the song to its tender finish along with Antony’s skillful piano work.

The night did have some lighter moments, like the bands playful cover of Beyonce’s “Crazy In Love,” that started out simple and sounded quite improvised, but took on added weight as Antony breathed new life into the lyrics and the band provided a steady accompaniment while Antony lost himself in the song. And, when that song was quickly followed by a soulful rendering of “Fist Full Of Love,” the pairing of seeing Antony on Valentine’s Day started making perfect sense. His songs are indeed filled with love, after all, either searching for it or remembering love lost. Either way, it was more of a tender, joyous affair than I was expecting, even with Antony struggling to find words after someone in the crowd wished him a happy Valentine’s Day. He sat silent at the piano bench, explaining how he didn’t have anything special planned, trying to find words to signify the day, and just couldn’t. Later in the show, he encouraged all of us to YouTube the “Hamster at the Piano” video, that the video would be his Valentine’s Day gift to us. Which is silly, in the end, since sharing his music with us was always going to be the best gift of them all.

After a rousing, electrified version of “Aeon” closed out the main set, Antony and his band left the stage to a standing ovation from the adoring and respectful audience, who were stone silent during most of the set, except when Antony invited us to have a conversation with him after he came out for the encore (which never seems to work out well in any show, and didn’t on this evening). Antony rambled on a bit about spoonfuls of peanut butter, and joked about how he had a few lately and was hoping that one of them would be “the magic spoonful that would send him to his grave.” But he was honestly horrified to find out that three people had died in Minnesota from salmonella poisoning linked to peanut butter, and begged our forgiveness for his insensitivity. It was a minor diversion before the encore began with a wonderful version of “Cripple and the Starfish” that again showed the talent and dexterity of the orchestra, who gave the song a mournful edge with their delicate accompaniment. The show finished the only way it could, with a jaw-dropping version of “Hope There’s Someone” that enraptured all in attendance with its stark, plaintive lyrics and Antony’s vulnerable, unadorned plea for someone to be there when he needs them most. It was absolutely beautiful. And everyone that gave the band another standing ovation as they left the stage seemed to agree.

So, spending Valentine’s Day with Antony and the Johnsons wasn’t such an odd pairing after all, with Antony’s honest, heartfelt lyrics playing the perfect foil to all the insincere sentiment being sold to us everywhere we turn. The performance was as sincere and genuine as any I’ve seen recently, and was far and away my favorite show of the young year.

Please see my original review and much more @ www.culturebully.com. Cheers!

There are some rock shows where you close your eyes to avoid seeing the train wreck happening in front of you, diverting your attention from an artist clearly not ready for the stage they are on. And then there are shows, like last evening’s Fujiya & Miyagi/School Of Seven Bells show at the extremely sold out 7th Street Entry, where you close your eyes and let the sound wash over you and take you somewhere else entirely. Especially with the stunning identical twins Alejandra and Claudia Dehez on stage, School Of Seven Bells were best experienced (at least in my opinion) with eyes closed, without their beauty distracting from the music in any way. And both bands didn’t really get up to much on stage, so I let the music do most of the work for me, transporting me somewhere besides the extremely crowded Entry.

School Of Seven Bells opened with “Iamundernodisguise,” the first track on their excellent debut full-length Alpinisms, and right from the get-go, it was clear that guitarist Benjamin Curtis was working way too hard on his various effects pedals and knobs without having the sound in the room reflect his efforts. His sounds were buried too deep in the mix, and the vocal harmonies of the Dehez sisters, while pleasant enough, overwhelmed their sound and made a lot of their songs sound similar as a result. Perhaps it’s a conscious effort by Ben to not dominate their ethereal sound with his guitar work, because their mix was the same when I saw them open for M83 at the Triple Rock a couple months ago. But, in my opinion, their music suffers a bit under that arrangement, for he’s way too talented to be relegated to merely a bit player in the group, and their album is filled with varied and interesting sounds that he creates which don’t come across nearly as clear when performed live.

That’s not to say that the show wasn’t without it’s highlights, for when the band hit their stride, the music is quite intoxicating. “Wired For Light,” “My Cabal” and “Connjur” were all enchanting sonic experiments that worked well in the live setting, and filled the club with the band’s airy sound. On record, the band’s sound is much more soaring and exalted, but those heights aren’t quite reached by their live set. Their songs are enjoyable, but ultimately don’t really go anywhere all that interesting in the end. I think with more of an impact from Ben, their live sound could match the elegant soundscapes found on their record, but for the time being, their live show suffers from a lack of his guitar and effects in the mix.

Surprisingly, the club cleared out ever so slightly for headliners Fujiya & Miyagi, and those that left missed out on a group that has clearly found their sound and polished it to electronic perfection. The band was tight and balanced, and their sound was superb. During the middle of the Brighton band’s second song, I was wondering why there was even a drum kit set up for the evening, for SVIIB didn’t employ a drummer and up until that point Fujiya & Miyagi weren’t either (they’ve been a three-piece with a drum machine prior to this tour). But new member Lee Adams came out from behind the curtain to sit behind the kit, and helped bring “Ankle Injuries” to a propulsive close. He brought a more natural, organic sound to their music, and in my mind is a welcome addition to the group’s hypnotic live show. Frontman David Best was affable and accomplished all evening, as his intricate guitar work guided the songs, and the “rhythm section” of Steve Lewis and Matt Hainsby gave the songs their depth and atmospheric dimensions.

Touring behind their splendid new record Lightbulbs, their set leaned heavily on their new material as well as songs from 2007’s Transparent Things. Standouts included “Cassettesingle,” “Pussyfooting” and “In One Ear.” Their songs are tightly wound constructions that have a catchy underlying beat that always seems to get heads nodding. But there is quite a bit of space to be found in their music as well, no matter how dense it may sound. And plenty of people in the crowd were free to get lost in that space throughout the show, even though there wasn’t much room available to dance in. Best’s lyrics are rather goofy at times, reminiscent of the often dead-pan delivery of Jermaine and Bret from Flight Of The Concords (especially on a track like “Pickpocket”). The real innovative aspect of the band is their funky, enthralling sound, which was mixed pristinely last night, with all the nuances of their music perfectly audible and crisp.

It was a show I spent a good majority of in my own head, with the music providing a spatial soundtrack to my thoughts as well as conveying me out of the crowded Entry into somewhere much more pleasant but rather hard to define. I think School Of Seven Bells have yet to reach the promise that is hinted at in their debut record, but touring with a taut and focused band like Fujiya & Miyagi will only help them to flesh out their live sound and add dimension to their music. Fujiya & Miyagi have really solidified their sound and nailed down their live show, and when it’s mixed right, as it was last night, their sound can take you to all corners of the globe with their varying influences and styles. Or, it can simply just make you dance, provided you have the room.

Please see my original review, and more of Jon's incredible photos at culturebully.com. Cheers!

I’m sure there were plenty of people in the near-capacity crowd at the Varsity Theater that were surprised with just how funky Lykke Li’s live show was Sunday night. While her album just offers hints of bass and beat driven sounds in favor of an overall more subdued, downcast tempo, her live show is a frenzy of percussion, pre-recorded backing tracks, and a three piece band that really filled out her sound nicely. And that support allowed Lykke Li to dance around the stage like a whirling dervish, constantly beating on symbols placed on either side of her whenever she wasn’t singing. It was an energy that the languid Sunday night crowd at the Varsity initially had a hard time matching, but eventually Li and her band got the crowd moving in what turned out to be quite a rousing set.

Taking the stage alone to the instrumental sounds of “Melodies & Desires,” the opening track from her excellent full-length debut Youth Novels, Li proceeded to ease slowly into the opening bars of “Dance, Dance, Dance” before the band hit the stage to join her for the chorus, and really turned the song into a propulsive, drum driven smash that got the show off to a great start. And even though it took a while for the young crowd’s enthusiasm to match the band’s (it was a 15+ show after all), that didn’t stop Li from whirling around the stage, beating her drum stick on whatever was nearby, urging the crowd to let go “because it’s Sunday.” Her verve, and her band’s steady accompaniment added an upbeat, danceable quality to early set standouts “Everybody But Me,” “I’m Good, I’m Gone” and “Complaint Department,” which owes quite a bit of it’s menacing sound to fellow Swedes the Knife.

Li’s boundless energy eventually enlivened the large crowd, who were enraptured by her cover of Kings Of Leon’s “Knocked Up” which she cheekily dedicated to anyone who’s pregnant in the crowd (too bad M.I.A. was at the Grammys). I liked her version much better than the original, and the cover was just a sign of things to come in a set that would feature a few surprises. Halfway through “I Don’t Mind” she busted into a credible, amped-up cover of Lil Wayne’s “A Milli” that finally got the response from the crowd that the shy, Swedish chanteuse had been looking for all night. That communion with the crowd really propelled the end of the set to great heights, with “Let It Fall,” “Little Bit” and “Hanging High” really benefiting from the energetic reworkings of her full-band live show. At one point she got part of the crowd to sing along in French to the chorus of “Window Blues,” which is no small feat, even around the campus of the U. And, by the time she got to the raucous set closer “Breaking It Up,” she had the room electrified and entranced by her sultry, smoky vocals and captivating stage presence. “Breaking It Up” was another example of how her songs turn into club anthems through her enlivened live show, and that adds a depth and moxie to her songs that aren’t quite as evident on record.

She came back out solo at the start of the encore to sing a tender version of “Time Flies,” before the band joined her on an absolutely stunning version of “Tonight” that was the highlight of the set for me. The song is a real showstopper, and her achingly beautiful version last night will stick with me for quite a while. It was just perfect in every sense of the word. But the party wasn’t over by a long shot, as the familiar bass-line to Lou Reed’s “Walk On The Wild Side” echoed off the walls, along with Li’s melodic “Do-do-do, da-do, do-do-do” that ushered in what I immediately recognized as her lively cover of A Tribe Called Quest’s classic “Can I Kick It” that really set the place off. It was a great way to end the nearly hour-long show, and drove the point home even further that Lykke Li is indeed funky, and can bring the noise when she wants to. I wouldn’t be surprised to see that hip-hop element permeate her music more in the future, and look forward to hearing how her style evolves over the course of her next couple of records. No matter what direction Lykke Li chooses to take her sound, she’s got enough variables and influences involved to keep all of us interested for quite some time to come.

Please see my original review, along with more of Jon's fantastic photos and Brody's great vids on culturebully.com. Cheers!

Last night was a true hometown celebration in downtown Minneapolis, with local bands Solid Gold and Tapes ‘n Tapes managing to completely sell-out First Avenue’s main room (and then some). The large venue allowed Twin City music fans the opportunity to pack the club and show their love to both bands, and gave the groups the chance to fill the room with the sounds and spirit that have garnered them all of the acclaim in the first place. Tapes ‘n Tapes have already made their way rapidly up the musical hierarchy and from all indication Solid Gold should soon join them on the national stage—last night’s entertaining and energetic show was further proof why both bands warrant all of the attention and accolades.

Normally, when you have three bands on the bill for a show at First Ave., people are still filing in while the opener is finishing its set. Friday night however, the club was good and packed by the time Solid Gold took the stage. That must have been quite a confidence boost to the band (who were playing one of their largest Twin Cities shows to date), because they came out sounding tight and focused, with their mix sounding superb and their smooth sound easily permeating the entire club. By the time they played their second song of the night, “Armored Cars,” they were settled in and the club was theirs for the taking. They rattled through most of their stellar debut record, even playing one new song that fit seamlessly into the flow of the set, and other than thanking Tapes ‘n Tapes for having them as openers, kept strictly to the music.

Tapes ‘n Tapes selecting Solid Gold to open the show was quite a smart move, and certainly no accident. Their longer than usual set (for an opening act) confirmed not only that they were a local band that Tapes were generously providing a larger stage (and audience) to for the night, but also that the band has the kind of sound and appeal that can fill First Ave. on their own, which I’m sure they will soon. I’m curious to see how they go over in Austin for SXSW but based on their captivating performance last night national success should be imminent. And these guys certainly deserve it for they have crafted one of the most unique and listenable local records in recent memory with Bodies Of Water, and have an enthralling live show to match. Solid Gold were given a golden opportunity to play to a full room at First Ave. and they stepped up and delivered a knock out set to an admiring audience that will most assuredly propel them on to bigger and better things.

Following Solid Gold’s set would prove to be a difficult affair for any band, and New Hampshire’s Wild Light, while being a tight live band with anthemic songs and earnest choruses, were a bit of a let down after such a stirring opening set. Under different circumstances their sound and style would perhaps be more engrossing, but I found myself anticipating the headliners more and more as their set progressed. “California On My Mind” is a hell of a song though, and was the highlight of their set for me.

With the club now packed well beyond capacity, Tapes ‘n Tapes didn’t waste any time in tearing into the beginning of “The Dirty Dirty” before the projection screen covering the stage was still rising, starting a fiercely paced set that rarely let up all night. Due to incessant touring and a burgeoning familiarity with their material, they have become an even tighter band since I last saw them headline the main room last year. Their sound last night was buoyed even more by the addition of drummer Jeremy Hanson’s brother Jacob on guitar during part of their set. It was clear right from the start that the boys were on point and out to set fire to the place, tearing through early set highlights “Hang ‘Em All,” “The Illiad” and “Headshock” without so much as a word to the capacity crowd nor much of a chance to catch their own breath. It was a blazing start that was inevitably bound to subside a bit, as it did with “Conquest,” which finally allowed front man Josh Grier the time to acknowledge the capacity crowd and thank us all for coming.

After a sped up and feisty version of “In Houston,” the set really took off with the rousing one-two punch of “10 Gallon Ascots” and “Insistor” that reminded me why these guys blew up in the first place. They tore through these familiar songs with the same intensity and energy that they did when the songs were first written, fleshing them out with a grittier sound and a potency born from years now spent on the road. Josh went on to say that this is the first time they’ve played Minneapolis while being in the middle of their tour, and it was nice to be home after three weeks on the road. The band also debuted a few new songs during their set that had a fresh and lively sound that will fit right in with their varied and distinctive catalog.

The set did have a few lags in energy (it would have been nearly impossible for any band to keep up that level of ferocity all evening), so while songs like “Demon Apple” and “Say Back Something” were good additions to the set, they just lacked the whip-crack potency of the earlier part of the show. That strength of sound returned quick enough, though, with the slow build of the cacophonous “Manitoba” and the frenetic set closer “Jakov’s Suite” that had a good part of the capacity crowd thrashing right along with the band. The encore was as tightly wound and focused as the main set, with the band wasting little time backstage before storming back out to play spirited and explosive versions of “Cowbell” and “Just Drums” that proved to be a perfect finale to a set that found the local band showcasing their continually evolving talent and dexterity before an audience that has been rooting for them since the beginning.

And that’s what the night ultimately became—a celebration of two local bands that, while already having achieved great things, are hopefully both bound for more. And if all goes well, the enormous crowd that greeted them at First Avenue last night will just grow in numbers and stick with them every step of the way. I know I will.

Please see my original review with many more of Jon's great photos at www.culturebully.com. Cheers!

Normally, the best way to witness a band becoming more confident is during a live performance, while watching the group get a feel for the room and the crowd, and hearing their songs become more self-assured as their stage legs become steadier. It’s a rare thing to actually hear a band building confidence as their record progresses, finding their voices and gaining poise from one song to the next, but that is precisely what happens on the Absent Arch’s strong debut record Keep Calm And Carry On.

The songs become more composed and balanced, and the vocals grow more affecting, as the album proceeds, building in intensity as the band finds its footing. Given the intimate sound of the songs, and the band’s attempt to capture the energy and urgency of their live performance while recording in a dingy basement, it’s easy to view the record as a progression through a set list, with emotion and spirit building with each song. Will Markwardt’s raspy vocals ground the songs solidly through lyrics that are infused with convincing characters simply searching for something real; to be feared for their firearms (”Little Kids”), as well as regarded for their once-tailored suit (”Tatters & Thimbles”). It’s quite easy to relate to and recognize the subjects of these songs, which only adds to the bond the listener can form with this album.

The bare bones folk and roots sound of the arrangements wouldn’t necessarily work so well without Markwardt’s stirring vocals, as well as the risks the band chose to take with the production on the record. Anthony Poretti’s drums occasionally sound like they were recorded in a distant room, and the backing vocals sound at times like they are being shouted from the roof. Brian Voerding’s subtle trumpet and Poretti’s stellar but sparse drum fills add depth to the overall emotion of tracks like “No Titles…None At All,” the centerpiece of the ten song record, and the point where the band really hits their stride. It’s a song I’m still trying to decipher, but it takes me somewhere every time I listen, which is all we can really hope for from good music.

“Namesake,” which features Jonathan Waldo’s haunting viola and the steady bass line of Will Garrison, is a benevolent one-way dialogue between a son who just wants to drink and commiserate with his father, finally having the courage to ask him the tough questions that perhaps he wouldn’t when sober. It’s this sort of raw, candid sentiment that really draws the listener in, with the delicate, understated arrangements guiding the songs tastefully towards their end. “Texas, 1935″ is epic, in both length (seven minutes) and scope, and its grand image of a boy and the poem he wrote and nailed to the wall next to his bed, has stayed with me in the way only distinctive lyrics do, and becomes what I visualize as I listen to the track, with the Dust Bowl raging just outside the window. It’s a lovely song.

The Absent Arch have crafted an album rich in both mood and melody, creating indelible images and memorable songs that seem to sound slightly better with some snow falling outside. I’m curious as to what direction the group decides to take their sound in the future, but for right now, Keep Calm And Carry On has definitely taken its place as the most assured and memorable record amongst the wealth of great local releases within the past year.

The guys and I at Culturebully.com are sponsoring a free performance by the Absent Arch @ the Acadia Cafe in Minneapolis. Stop by if you can. 

So, 2008 has been a great year for live music-for me, at least. I hope it was the same for you. Here are my Top 5 Concerts of 2008, with a link to my review of each wonderful show. Here's to a great year for concerts in the AughtNine. Cheers.

1) Elbow @ Fine Line, Minneapolis (04.30.08)

2) Ryan Adams & The Cardinals @ Overture Hall, Madison (10.05.08)

3) The Kills @ Triple Rock, Minneapolis (05.11.08)

4) Spiritualized @ First Ave, Minneapolis (09.10.08)

5) R.E.M./Modest Mouse/The National @ Excel Energy Center, St. Paul (06.05.08)

Please check out the Four Takes on the Best Concerts of 2008 at Culture Bully, where my list appears with those of three of my cohorts. It's a great look back at a lot of fantastic concerts that took place in 2008.

It was quite a celebration on Saturday night at First Avenue, as a sold-out crowd showed a lot of love towards local hip-hop crew Doomtree, who in turn gave a lot of love right back, as well as an energetic performance that highlighted a collective that is currently hitting on all cylinders. With a handful of records out over the last year or so, as well as their first ever full-length under the full-crew Doomtree umbrella, and forthcoming records due out early next year from  P.O.S., Sims, and Dessa, Doomtree had a lot of banging tracks to chose from, and most of them were on offer during the two-set, nearly three-hour Fourth Annual Blowout.

The fuse did take a little while to get lit though, as the early start time, combined with long lines at the door, had people filtering in (and warming up-damn it was a cold night in Mpls) while the first set was going. But the gang clearly was ready to provide whatever enthusiasm the crowd might have been lacking, initially, with the smile on P.O.S.'s face enough to light up the club on its own. So, while it took a while for the crowd to get into it, the band certainly was on point right from the get go, with the spotlight at the start of the show falling on the rhymes of Mike Mictlan, Sims, and P.O.S., who simply owned First Ave's revamped stage, with its small stairway leading down from the stage into the crowd adding to the engaging atmosphere in the club . It's been quite a year for the Doomtree crew, and Saturday night was a bash to celebrate everything they have achieved, and how a lot of their dreams and aspirations have been realized. Backed by DJ's Paper Tiger and Lazerbeak, the beats were solid and slamming all night, and each MC brought their different styles (and solo material) to the mic, blending their disparate techniques deftly throughout the entire show.

Cecil Otter stayed in the background for the beginning part of the set, but tore things up when he got the chance on an old track from his 'False Hopes' record, and really brought the first set to life with his rhymes. P.O.S. gave us just a little taste of his new record that's dropping in February, blowing up on 'Drum Roll.' I was actually hoping for a few more tracks from that record, but I'll have to wait until he perhaps does a record release show (or at least a local headlining show for his tour that begins in February) for 'Never Better.' Dessa also performed a few sultry tracks that might find a place on her forthcoming record in the new year as well. But this was a Doomtree show, after all, and a majority of the tracks the crew tore up (and seemed to enjoy performing the most) were from their excellent collaborative 'Doomtree' record. So, 'Drumsticks,' 'Gander Back,' and first set closer 'Game Over,' were all early set highlights that were brazen examples of how strong that record is.

So, after a short break, Cecil Otter came on stage, unaccompanied, and did a stirring trio of songs from his 'Rebel Yellow' record, that not only shows how improved his stage presence has become over the years, but how clever and self-deprecating a wordsmith he is. Next up was Mike Mictlan, who also did a rousing set of songs from his Lazerbeak produced 'Hand Over Fist' record. Mike announced the birth of his daughter to the crowd, before dedicating a spirited full band version of 'Prizefight' to her, which just might have been the best song of the night. And from that point on, the place was on fire. The room had reached beyond maximum capacity, and the hyped crowd just added to the groups energy. 'Accident' really tore things up, and then the crew literally tore things up, tearing off the huge letters that spelled out Doomtree on the DJ decks, and throwing them into the ecstatic crowd. The band even brought out I Self Devine on guest vocals for an incendiary version of 'Twentyfourseven' that had the whole crowd throwing their hands (and wings) into the air.

So, it was quite the revelry taking place on Saturday night, one where the band was nearly as happy as the audience, with all they've accomplished throughout the year. And the crowd made sure to show their appreciation, for not only all the great releases they've been responsible for over the years, but for an amazing show as well. One where the true talents of the band were on full display, as were the excellent songs that have now piled up in the Doomtree catalog. They had enough killer tracks to fill a nearly three-hour set and leave the audience breathless (at least those of us on the floor were.) So, well done, Doomtree crew. This show was a real celebration of all you have you have accomplished over the last year or so. And with such good records looming on the horizon, we know you aren't even close to being finished yet.

Please check out my review of this concert on culturebully.com, which features some excellent photos from the show.    

  

Seeing a band twice while they are still touring the same record can be a dicey affair. Either the show can be so similar in sound and scope to the first concert that it can be frustrating to pay for essentially the same show twice, or, it can be so radically different from the original show that whatever made it special the first time was completely lost and replaced by something less stellar. Saturday nights sold-out M83 show at the Triple Rock actually suffered from a slight combination of the two scenarios, and while that in no way made the show unsatisfying, it wasn't altogether the compelling and captivating show that I saw from M83 at the same venue back in May.

The show was still a truly sonic experience (all M83 shows will be), with the sound at the Triple Rock crystal clear as always, but this time the music seemed to be a mere soundtrack to everyone's Saturday night, as opposed to the performance being the focal point of everyone in the club. The show featured a slightly different set list from the show in May, especially at the beginning, with three instrumental tracks (including an excellent 'Moon Child') kicking off the show. Anthony Gonzalez didn't even sing until the fourth song of the evening, 'Kim & Jessie,' that found the band (the same four piece ensemble that played back in May) extending the song quite a bit during the outro, with keyboardist Morgan Kibby adding background vocals that took the song in a spacier direction.

All the 'hits' from their excellent Saturdays=Youth record were represented, with 'We Own The Sky' being an early set highlight, 'Graveyard Girl,' and my favorite song of the night 'Skin Of The Night,' closed out the main set in a truly resounding manner, while 'Don't Save Us From The Flames,' was a highlight of the older material played during the night. And while all these tracks sounded amazing, it just seemed too similar a set to their last performance to be truly remarkable. The show was paced much better this time around (a sure sign that they've spent a lot of time on the road with this material), with fewer extended breaks between songs, and Anthony spent more time on keyboards, lessening the need for as much backing music as they had last time. And drummer Loic Maurin, who really drives the bands sound and keeps them locked in, was incredibly on point all evening. However, similarities between the two performances seemed to override the uniqueness of the event for me. 

The crowd was dancing a bit (gasp?!) and was generally much more festive than at their last show, perhaps owing to the Saturday night time slot, and that was certainly encouraging, because M83 makes music that should cause you to move something. But, while I was making my way around the incredibly packed Triple Rock, I realized that people perhaps weren't as captivated by the performance as they should have been, with their songs simply becoming background music to the many loud conversations taking place around the venue. But M83's songs are so atmospheric and spatial, and have so much room within the music, that one can certainly enjoy it without concentrating too hard.

The set closed with an extended and exuberant 'Couleurs,' the same way their set did in May, and while it was an exclamation point on a wonderful set, it was too indistinguishable to the end of their last show to make a lasting impression on me. I'm sure that people who didn't make the show in May must have thought this show was incredible, but for me, the similar set list took away from the distinctive nature of the evening and my overall enjoyment of the show. It was by no means the bands fault, they sounded fantastic and seemed very engaged by both their performance and their fans, I just need to give them some time to release new music before I see them again.

 

Openers School Of Seven Bells, featuring guitarist Ben Curtis (formerly of Secret Machines) and twin sisters Claudia and Alley Deheza (formerly of On!Air!Library!) on keyboards, guitar, and rhythm programming, played an entertaining, but all-too-brief set. They made it through about 6 or 7 songs from their excellent debut Alpinisms, in a set that unfortunately went just beyond the half hour mark. Their music was ambient and interesting, and was given a slightly sinister twist by Ben's excellent guitar work, and formed a good primer for when the band returns as headliners and has a longer set to work with. I talked to Ben after their set, and he thinks they will be back touring as headliners sometime in February. He was a genuinely nice guy, very affable, and quite proud of his new band (and why shouldn't he be-not only do they make great music, but they might just be the best looking band in history. The Deheza sisters are absolutely stunning.) But I digress. If you haven't managed to check out Alpinisms at this point, I highly recommend it, especially before School Of Seven Bells come back to Minneapolis in 2009.

Please check out the original review on CultureBully.com.       

It's never a good sign when the first thing Bradford Cox says to the audience is "I've got some bad news to tell you." I immediately became worried that the show was in jeopardy, but it turned out that guitarist Whitney Petty was back at the hotel with the flu, and wouldn't be making the gig. So, it would be up to Bradford and Lockett Pundt to manage the guitar assault for the evening, a task which they took to admirably once the sound issues were worked out. It's also never a good sign when Bradford has to yell "This monitor is fucked" during opening track 'Cryptograms.' The song sounded amazing from the crowd, incidentally, with no audible buzzing in the vocals that Bradford would allude to. So, with encouragement from the crowd, the band soldiered on into 'Never Stops,' one of my favorite tracks from Deerhunter's incredible new record 'Microcastle.' But Bradford had enough of the monitor issue, stopping the song outright, and demanding that the issue get resolved before the band continued, more for the crowds benefit than the bands, with Bradford exclaiming that he didn't want us to have to listen to a lousy show and have a bad trip. So, after the tech fixed the issue, Bradford joked 'Take it from the chorus...Just kidding. We're starting the song again,' and with that, finally, the show took off.

'Never Stops' soared, being led by the bouncy bass line of Josh Fauver, and the two guitar attack brought the song to a cacophonous finish. 'Dr. Glass,' off the Fluorescent Grey E.P. was next, and it was clear that the band were locked in at this point, or at least locked in after drummer Moses Archuleta returned from his mid-set between-song bathroom break. It certainly wasn't the smoothest of starts for Deerhunter, but the sublime sound of their music more than made up for any glitches, be they technical or, ahem, physical.

The band has really fleshed out the live sound of their older tracks, adding Sonic Youth-style layers of noise on to tracks like 'Hazel St.' and 'Like New,' that really turned them into massive, sonorous live songs. The Triple Rock has always been my favorite sounding room in the city, and after the opening fiasco, the sound was fantastic for the duration of the show. And it was clear that after the hi-jinks of past performances, the band was much more into their music now than any sort of on-stage theater, and the set was tightly focused, forceful, and as stirring as any of their shows were in the past. And the strength and vision of their new record is a big reason for that, as well, with the new songs building and crashing over the audience in exquisite waves of sound. The last two or three minutes of 'Nothing Ever Happens,' was absolutely sublime (not to mean that the first part of the song was shit, or anything), and really was the highpoint of the show.

The band built on that momentum with a stunning guitar heavy version of 'Octet,' that built up gradually, until the song filled the room and had everyone around me at least smiling if they weren't moving something. The band really were able to lose themselves completely during the number, with all the members locked into the groove and lost in the sound. 'Microcastle' slowed things down a bit, until its rousing finish sparked the show back to life again, and 'Vox Celeste' proved to be the nights only offering from 'Weird Era Cont.' the excellent bonus album released with 'Microcastle.' 'Calvary Scars,' found the band stretching the song out a bit and experimenting musically, with Bradford turning knobs extensively in search of that perfect sound, and the other members turning their backs on the audience as they focused on the sound coming out of their amps. It was fantastic, and eased the band off the stage.

Remnants of the song were still being looped repeatedly as Bradford came back on stage, much to his annoyance as he tried to thank the audience for coming out on a cold Monday night. 'Agoraphobia,' was the first encore, and while sounding incredible, it was also somewhat sleepy, and that continued into set closer 'Twilight At Carbon Lake,' which Bradford introduced as 'a lullaby for baby roaches.' So the encore proved to be somewhat languid, until the end of 'Twilight,' which brought discord and feedback galore, again echoing Sonic Youth, and ended the set on a high note.

It's never a good thing when a band has to work through technical issues that plague their sound, but Deerhunter showed great fortitude and dedication in not only working though the issues at the start of the set, but turning in a stellar show once the sound was sorted out. They are touring for a fantastic record, and last night they put on a show worthy of the quality of  their entire catalog, and, despite perhaps lacking the theatrics of past shows, the concert was musically sound and experimental in its own right, and certainly made braving the cold on a Monday night worthwhile.

Deerhunter Setlist:

Cryptograms
Never Stops
Dr. Glass
Hazel St.
Like New
Little Kids
Nothing Ever Happened
Octet
Microcastle
Vox Celeste
Saved By Old Times
Calvary Scars

Encore:
Agoraphobia
Twilight At Carbon Lake

I need to make special mention of Chicago's Disappears (featuring Brian Case from The Ponys), who opened the night with a strong set of guitar heavy minimalist rock that was reminiscent of  Velvet Underground and Television, and with our show being their last on the tour with Deerhunter, we were lucky to have them kick off the night. Times New Viking, from Columbus, Ohio, were up next, and while making that sort of racket with their nominal stage set was admirable, their songs suffered from sounding too similar and not really having any real direction, with just simple keyboards and guitar to drive the song along with the drums. Their set was met with approval by most of the crowd, but not necessarily with me, especially when compared to the superb sounds of Deerhunter.

Please see the original review, with more of Jeremy's great pics on CultureBully.com.

It is impossible to separate the where and when from the what, in regards to Bob Dylan's historic concert in Minneapolis last evening. The show (which sold out immediately) took place at Northrop Auditorium on the University of Minnesota campus, a school that Bob briefly attended from 1959-60, and was officially his first concert ever at the U.  And, it happened to fall squarely on Election Night in America, during one of the most significant and momentous elections in recent history, with a candidate in Barack Obama that Dylan has openly supported in the media, which he hasn't done much of in his past. So the potential was there for a truly extraordinary night, which it was for many different reasons.

Everyone in the crowd was galvanized by the occurrences of the day by the time the familiar introduction came over the loudspeaker, "Columbia recording artist Bob Dylan," and the houselights dimmed. Dylan and his band strolled on stage to an absolutely deafening ovation (actually, it appeared that Bob skipped on stage, a move he would repeat for the encore.) And, with a lively version of 'Cat's In The Well,' we were off. The question of whether or not the night would have any overt political statements was answered with the second song of the set, a slowed down but no less potent 'The Times They Are A-Changin' that had the crowed roaring their approval after every verse. It was a perfect moment, and entirely as relevant today as it was when he wrote it.

Dylan was extremely lively during the two-hour set, as animated as I've seen him in over 10 years. He would punctuate his lyrics with subtle stomps of his feet, and poked at the air sharply to emphasize his words. He also played a lot more harmonica than he has in the last three or four shows I've seen of his, sauntering over to the harp stand, picking the right one to match the tune as the band played behind him, and often taking the mic with him to center stage to solo away with the band. He was confident and cool on stage, and had a swagger about him that perhaps was based on him being back on home turf, playing to an adoring and boisterous audience.

That confidence was evident especially on a radically reworked and bluesy 'This Wheel's On Fire,' which found Bob center stage at the mic for the entire song. No keyboard to steady himself or hide behind, just a microphone and his spunky lyrics leading the song. It was great to see Bob so self-assured. 'Tangled Up In Blue,' also received the patented Dylan rework treatment, with this version sounding a bit countrified and bouncy. I quite liked the new arrangement of one of my favorite Dylan tunes, and am constantly amazed at how Bob continually evolves his own material, never content to just let a song be finished and immutable. Frankly, the three song stretch of 'Tangled Up In Blue,' 'Masters Of War,' and 'Stuck Inside Of Mobile With The Memphis Blues Again,' was simply flawless, and as good, musically, as it gets. The songs themselves are unparalleled, and each of them was delivered with passion and an intensity that fits the times impeccably. Bob and his band were on fire at this point.

And then the concert lost a bit of its momentum. 'John Brown,' is a great song about the life changing tragedy of war, but tonight it was missing it's spark a bit. The lull continued with a sleepy 'Beyond The Horizon,' that really slowed the show down, and had people around me (I was fortunate enough to be in the 8th row) sitting down for the first time in the show. The show needed a jolt of life, and we got one with a blazing 'Highway 61 Revisited,' that found the stage backdrop lit with cool black and white tribal-like designs reminiscent of Bob's crown & eye logo. It's always cool to hear songs written about local landmarks, (which is part of the appeal of The Hold Steady for me) and this song was no exception. It was Dylan's road out of here, one which he has never stopped traveling on, and  this version was impassioned and volatile.

The backdrop changed to a star-filled sky theme for the appropriate and touching 'Shooting Star,' with Dylan gently singing the lyrics, and even playing electric guitar center stage during the second half of the number. Again, it's been over 4-5 shows since I've seen him pick up the guitar, and while his efforts were rusty at first, he picked up steam and confidence, and closed out the song leading the band home on guitar. He could've not played a note on the thing, but it still would have been a great sight to see Bob just slinging a guitar over his shoulder once again. 'It's Alright Ma (I'm Only Bleeding) was up next, and, despite Dylan not enunciating the lyrics on every verse like he did when he was a younger man, the song still packed an emotional punch and an unrivaled lyrical potency, and was my favorite song of the night. It was reworked slightly into an exuberant blues number, and was a real treat to hear. The crowd roared for the 'But even the President of the United States sometimes must have to stand naked,' line, as they have every time he's performed this song since 1965. His lyrics are truly timeless, and are as appropriate today as they were the day he wrote them. I don't know if that should be consoling or truly frightening. Either way, Bob is a singular songwriter who has blessed the world with more gifts than we deserve. 

'Under The Red Sky' (the second song of the night from Bob's 1990 record of the same name) slowed things down again, and was much too downtempo to  keep my attention entirely, and my thoughts started to drift a bit towards what was happening with the election for the first time in the evening. But Dylan and his band again picked the momentum back up with a lively 'Thunder On The Mountain,' that found Bob leading the band through the song on keyboards, soloing a couple different times during the number. Again, he was lively all night, clearly energized and commanding on stage. The stage lights went black for a simmering and soulful version of 'Ain't Talkin,' that closed out the main set on a high. The darkened stage lent a potency and weight to Bob's ruminations on this journey from life towards death, and the difficult decisions we face daily. It was truly captivating, and a great way to end the set.

The break before the encore was a little longer than most, simply because I believe the band was trying to get updates on the state of the election, or perhaps they were just soaking in the resounding ovation from the 4,791 fans. But the band eventually came back out, complete with Dylan skipping back on stage, and I figured the encore would consist of the now ubiquitous 'Like A Rolling Stone,' 'All Along The Watchtower,' combination. Well, I was half right. 'Like A Rolling Stone,' was rowdy and a real crowd singalong, with Bob soloing beautifully on harmonica towards the end of the song. It was, and always will be, a great rock n' roll song, and even found Bob uttering his first words of the night as the applause rained down on him, exclaiming emphatically 'Thanks Friends.' No, thank you, Bob. Seriously.

 As he began to introduce the band before the next number, I thought that the encore was going to finish just like the last few shows of his I've seen, with no mention of the significance of the night or the location (which wouldn't have been a surprise to me.) But the crowd hushed instantly as Bob kept speaking after the intro's were finished, saying "Me, I was born the year Pearl Harbor was attacked. I've been living in a world of darkness ever since. But it looks like things are gonna change now." Now, as any fan of his knows, that constitutes a long-winded speech from Dylan, and I was summarily moved by his words and sentiment, as brief as it was.
 

Dylan then closed the show with another nod to the night's historical events, changing things up with a version of  'Blowin' In The Wind,' that perhaps has never been as significant and appropriate as it was last evening. It was stunning and stirring, and moved everyone in attendance, no matter your party affiliation. Change was, and is, in the air, there is no denying it, and the song was a testament to that promise. It was the only way the show could've ended. As the band gathered for their group bow, Dylan was clearly moved by the rapturous ovation, balling his hands into fists and punching at the air, knowing this show was a clear knockout. The band knew it too, with a few of them muttering 'Wow,' as they walked off stage, knowing that they were part of something truly special this evening. Bob Dylan and his band continue to be not only relevant, but inspired and innovative, with their songs gaining significance every time they are performed. Every one of us lucky enough to be at this show will remember it always.
 

And, as we filtered out of the auditorium, news was just coming over the air on CNN, which was being broadcast on a screen in the lobby, that Barack Obama had just won the Presidency. Wave after wave of people coming into the lobby would get the news, and shouts of joy and jubilation echoed through the halls. The celebration continued outside, as an impromptu party broke out, with everyone dancing and shouting 'Obama, Obama,' in time with the drumming of a street musician that found himself in the right place at the right time. It was an incredibly jubilant end to legitimately one of the best nights of my life. But the real odyssey actually begins now, and I, for one, am ready to do my part in order to make sure this incredible journey is worthwhile. And last night, Bob Dylan and his wonderful band did their part to make sure I, and all who were there, never forget this night.

 

SETLIST:

1. Cat's In The Well
2. The Times They Are A-Changin'
3. Summer Days
4. This Wheel's On Fire
5. Tangled Up In Blue
6. Masters of War
7. Stuck Inside Of Mobile With The Memphis Blues Again
8. John Brown
9. Beyond The Horizon
10. Highway 61 Revisited
11. Shooting Star
12. It's Alright, Ma (I'm Only Bleeding)
13. Under The Red Sky
14. Thunder On The Mountain
15. Ain't Talkin'

Encore:
16. Like A Rolling Stone
17. Blowin' In The Wind