8 posts tagged “pictures”
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!
I was surprised by a lot of things during Saturday night's sold-out Blitzen Trapper show at the Turf Club in St. Paul, not the least of which was the fact that the show was sold-out in the first place. I guess the large audience was partly based on the fact that The Current plays the title track to BT's new record 'Furr,' constantly, but more likely the turn out was a testament to the fact that 'Furr' is a fantastic record, solid from start to finish, and those tunes were on full display during the bands rousing set.
Another surprising aspect of the show was how loud it was. The new record is a bit more acoustic and mellow than its raucous predecessor 'Wild Mountain Nation,' and I expected the show to reflect that subtle transition. But the Portland sextet raised one hell of a racket right from the get-go, with their sound blaring and crisp as they tore through their new record nearly in order (or, perhaps it just seemed loud when compared to the hushed set of openers Horse Feathers, who were good, but their quiet, string heavy music was unfortunately over-matched by the loud Saturday night crowd at the Turf-a more intimate venue would suit their sound a bit more.) Clearly, touring with Stephen Malkmus recently has aided in Blitzen Trapper's live performance, with the new songs much more guitar heavy and clamorous than on record, and the band tighter and more assured than in past performances. Blitzen Trapper were a band hitting on all cylinders on Saturday night, with a large and adoring audience thrilled by everything the band played.
Sure, 'Furr' got the loudest applause during the set (it's a hell of a song, and deserves the omnipresent radio play it has been receiving as of late,) but I was surprised at the live potency of other new songs like 'Gold For Bread,' 'God + Suicide,' and 'Fire + Fast Bullets,' which was a boisterous highlight of the set for me. This self-assurance and confidence in their material really aided in fleshing out the full sound of the band's older tracks, as well, as songs like 'Wild Mountain Nation,' which roused the set from its brief and only lull, and 'Devil's A-Go-Go,' finally receiving the stirring and spirited live treatments that were absent in past performances of theirs that I've seen. Blitzen Trapper have simply become a better band, both live and in the studio, and they've managed to catch up to all the accolades that were bestowed on them before they even had a chance to become a cogent group. And that was perhaps the most surprising thing of all on Saturday night, how much Blitzen Trapper have progressed since their initial chaotic concerts in Minneapolis, and how good a live band they've become.
The strong hour long set ended with the crowd clearly wanting more, so three of the members sheepishly came back out to do a passionate cover of Dolly Parton's 'The Last Thing On My Mind,' complete with three part harmonies reminiscent of fellow Northwestern band Fleet Foxes. It was a great cover, and during the ovation the rest of the band came out for a lively version of 'Miss Spiritual Tramp,' that while not exactly being the electric guitar laden nod to Malkmus' former band Pavement as it is on record, was still a fun and feisty song that closed the set well, and left all in attendance happy and satisfied. Blitzen Trapper have realized the tremendous promise and talent that is inherent in their brilliant records, and while I hope they don't ever become content with that, they should be proud that their live show has become as formidable and solid as their records are loose and inventive.
I also need to make a special mention of show openers These United States, from Lexington, KY, who set the table for the night quite nicely. They were a great fit with the sound of the headliners, with the drummer even joining BT for their last song. Their bluegrass tinged songs of Americana and crimes (and crimes against America) went over well with the crowd, and they provided me with the biggest laugh of the night, when the singer asked the crowd to stick around for the next two bands, on the off chance that there were people there only to see them. Then asking them 'What the fuck is wrong with you.' Indeed, the sold out crowd was definitely there to see Blitzen Trapper, but if These United States come back to the Cities, I wholeheartedly recommend you check them out. Chances are there will be people there only to see them next time.
Original post appeared on culturebully.com. Please check out that review for more of Jon's fantastic pictures.
Wow, Gregg Gillis sure can throw one hell of a party. With just a laptop and a copious amount of streamers, confetti, and toilet paper, the man known professionally as Girl Talk completely invigorated a sold out First Avenue, and turned a relatively tranquil Monday night into Dance Party U.S.A. With the stage completely filled with dancing audience members by the time the first few beats came out of the speakers, and the floor awash with flailing arms and mad gyrations, Gregg and his trusty laptop completely energized the room and, despite the lack of any real instruments being played and original music being created, Girl Talk put on one incredible show.
I think the appeal of Girl Talk is that there is a little something in his music for everyone, no matter what your tastes. He isn't just raiding the record collection of the indie kid, or the hip-hop head, it's a bit of all our collections that are incorporated into his music. If you just listen long enough, you are bound to hear the strains of a song you recognize and love in a new and unique way, and chances are you'll be bobbing your head to it. And once his set got started, it became a game of name that tune, with Beck beats over Cassidy lyrics, Weezer melodies meshing with Lil Wayne rhyme's, and a blur of NIN, Styx, Boogie Down Productions, and, well, Blur. And when thinking about my review, I was struggling with whether or not I should list what was 'played' by the song titles from Girl Talk records, or the actual songs he's sampling from. But it doesn't really matter. What matters is that the room was full, hands were in the air, heads were nodding, and Gregg was bouncing around nearly as much as the audience, clearly feeling the vibes and the heat of the crowd.
I was worried that First Ave would be one endless mosh pit based on what I've read and heard about Girl Talks live shows, and while both the main floor and stage was teeming with ardent dancers, there was still plenty of room to move on the periphery of the crowd and just enjoy yourself (perhaps because so much of the audience was up on stage.) So, it was nice to just nod my head to the music and bear witness to the madness unfolding in front of me. And there was plenty to take in, with the stage remaining full of dancing audience members all set long, and constant waves of streamers jetting out into the crowd. And everywhere you turned, people were smiling, which I think is essentially Gregg's ultimate goal with his musical mashups; playing songs that make people smile (and shake their ass, of course.)
It was quite a spectacle, and actually enlivened me this morning to the grand event taking place today (or, I should say events-voting, then Mr. Dylan.) And the timing of the show was perhaps the only unfortunate thing about Girl Talks set, for the party that took place last evening at First Ave would have been perfectly suited for tonight, around midnight, when hopefully these winds of change that have been blowing for some time now shake the foundations of this country and Barack Obama is elected President of the United States. We could all just put on Girl Talk's records really loud, invite as many friends as we can to come over and dance on our couch, throw confetti all over the place, and relive the experience as best we could. I truly hope it happens. My place is always available.
Please see my original post on this concert, along with more of Jon's great photos, @ Culture Bully. Also, check out more of Jon's wonderful photos at his Flickr Page.
To say I was going into this Ryan Adams & The Cardinals show with a bit of trepidation would be an understatement. Based on past Ryan shows (the infamous First Avenue meltdown, last years abbreviated show at the State Theater), I wasn't sure if this was going to be worth the time (4 hour drive from Minneapolis) and the money (ticket, hotel and gas), but I love the man and his music enough to take that chance, and boy was I rewarded. This was The Show in every sense, a three hour, 31 song marathon, with Ryan in a cheerful mood, the band sounding tight and focused, and the venue among the best I've ever had the pleasure to see a show in. The stars (gone blue, of course) were aligned perfectly this evening, and I was fortunate enough to witness one of my favorite shows of the year.
First off, I would be remiss if I didn't mention the glorious Overture Hall in Madison. It is a first-rate, intimate venue (2,251 seats), with sublime acoustics and perfect sight lines. I think the venue went a long way in adding to the show, both from the fans standpoint and the bands-everyone appeared to be happy to be there that night, and it showed. I would recommend this venue to anyone contemplating seeing a show here, it is worth it, and the people of Madison are lucky to have this in their city.
The show (just Ryan & The Cardinals, no opening act) started with two new songs, 'Cobweb' and 'Sinking Ship', and while I had heard bootlegs of both songs, they didn't quite do them justice. Tonight, they was rocking and tight, atmospheric and driving, setting the stage for an evening filled with a healthy mix of new songs and old, and a whole lot of guitar. 'Everybody Knows,' was next, and it sounded like Ryan's vocals were a touch buried in the mix, with the guitars really carrying well (almost overwhelmingly so) in the hall. The band and soundman were searching for a common ground with the acoustics of the place, a balance between guitar and vocals that thankfully were figured out by the time Ryan strummed the opening chords of 'Wonderwall.' This was the first time, in the six or seven times I've seen Ryan, that he has played this song in concert, and it was at this point, especially with the hushed admiration of the crowd, that I knew we were in for something special. The mellow blue lighting of the Roses on stage were the only thing keeping us from total darkness, and the song was solemn and stunning. It was nice to hear the bands skillful and understated accompaniment to the song, as well, as opposed to the stark acoustic version on record. It was simply incredible. The band kept the momentum going with 'Come Pick Me Up,' that was as rowdy and loud as 'Wonderwall' was hushed and pensive. With the sound and vocal issues worked out, the band seemed to be fully locked in and taking full advantage of the venue's superb acoustics. It was a stellar two-song combo that really made it clear to the respectful (for the most part) and admiring audience that we were in for a great show.
With a new album, 'Cardinology' coming out on October 28th, we were treated to 6 of the album's 12 tracks over the course of the night, and the first single from the record, 'Fix It' was next up, and it was really all about Ryan's guitarwork. I've always felt that you can tell how much Ryan is into his solo's by how much time he spends standing on one foot, and he spent a majority of this song just trying to balance while he absolutely killed the funky guitar line for this song. It does have a slightly poppy chorus, but the song is driven by Ryan's guitar, and his guitars (even his 'scary' metal one) were on fire all night, with him taking every opportunity to extend and amplify his solos, and his interworking with Neal and Jon was on point all night. The whole band seemed to be freed by the space and sound of the room to really lengthen and improvise their solos and fills, and it was quite a jammy set, especially set two.
This review would get quite wordy if I were to describe every song in the 31 song set, so I won't bore you with that. Suffice it to say, the boys were on and enjoying themselves, with very little banter between the crowd and Ryan. He was very focused, and like I said earlier, on fire with the guitar (it must be the Iron Maiden shirt). The only crowd interaction he had in the first set, other than thanking the crowd, was shouting down a fan yelling for Whiskeytown songs, saying 'You're about 11 years late on that one. It sucked when we played the song then, and would probably suck if we played it now. We'll just play what we have written down and traveled all this way to play. I don't say that to be a prick, just in defense of all the people that came here with an open mind. And partly to be a prick.' Awesome. And that shut up the fans yelling for songs for the most part, and set the band loose to explore fully the songs they chose for us. 'Goodnight Rose,' was really stretched out, and the harmonies on 'Peaceful Valley,' sounded incredible in the hall. 'Desire' also demands a special mention, not only because I was surprised it was played, but more specifically because it was so fragile and wistful, with the crowd stone-silent and completely under Ryan's spell. It was magical.
'Rescue Blues,' found Ryan at the keyboard, and the band blowing the roof off Overture Hall. It was a funky, revved up version that had Ryan singing the vocals in full voice, hopping on the piano bench for emphasis, and soloing away on the keys at the end of the song. It was a definite highlight of the set (as it always must be.) After a stirring 'Oh My God...' that had the band shrouded in darkness and the crowd swooning, Ryan announced that they were going to take a '10 minute break so we can go smoke a cigarette and you can get a drink or whatever.' This was after 15 songs and an hour and 15 minutes-to give you an example of how shortchanged we were at the State Theater show last year, we got 16 songs, same amount of time, and the set was over. Here, it was just starting. Again, we were in for something special this particular evening.
So, 14 minutes and a wardrobe change for Ryan later, the band returned with another new song, 'Crossed Out Name,' that eased the stragglers back into their seats and gave us all more reasons to be excited for the new record. Ryan strapped on a harmonica for an enthralling and tender version of 'Why Do They Leave,' that was completely breathtaking. It was one of the only slower moments during a second set that found the band predominantly jamming and improvising on nearly every song, specifically 'Off Broadway,' that was turned into a sprawling, churning rocker, instead of the rather subdued version on 'Easy Tiger,' and 'Magnolia Mountain,' that was reminiscent of the Grateful Dead both in sound and length, clocking in at 8+ minutes easy. All the while, the band showed no signs of stopping, with Ryan changing guitars and checking the setlist, going from one song to the next with abandon and enthusiasm. 'Shakedown On 9th Street,' 'Easy Plateau,' 'What Sin,' all went by in a blur, as the band rolled on, tight and together, all the while the sound in Overture Hall remained impeccable, with every note and nuance accentuated by the building's superior acoustics.
An impassioned, emotional 'Please Do Not Let Me Go,' found the show stretching past the 11 p.m. curfew (and the 2 and a half hour mark), but the band still didn't show any signs of stopping, rolling right into a sped up, reworked 'Dear Chicago,' that was made less sad and depressing by the modifications, but no less affecting. And, with Ryan doing his own song request, shouting 'Hey, can we play that one song!' the band launched into a wonderful 'Freeway To The Canyon' with Neal on vocals and Ryan absolutely shredding on guitar (on one foot nearly the whole time.) After a bluesy take on 'A Kiss Before I Go,' the band became aware that they have gone well past curfew at the venue. Ryan didn't really seem to be too bothered by this, though, exclaiming 'We've been up here just jamming away, and completely lost track of time. I bet we'll be fined a thousand million dollars! Wait, I wonder how much it just cost me to say that.' So, after a 'band huddle' that found them all laughing and seemingly drawing plays to go long like grade school football games, Ryan declared 'We better make this one count,' before launching into the wonderful set closer, 'When The Stars Go Blue,' that was still bluesy and beautiful, stretched out somewhat, even with the time constraints.
And with a bunch of waves to the crowd, the band left with smiles on their faces to a standing ovation from an adoring Madison audience. We were treated to a special night, three blissful hours and 31 fantastic songs that would have continued on even longer had the building not had a curfew. The band was tight and focused all evening, with Ryan pouring his energy into his guitar all night (as opposed to his rambling, humorous stories), and the band delivered a knockout performance that would have made a drive of any length completely worth it. Thank you, Cardinals, for a wonderful night that will live on in my memory (and hopefully on my headphones, if/when a recording becomes available.) This truly was a remarkable show in a majestic venue that I hope to visit again.
SETLIST:
1. Cobweb
2. Sinking Ship
3. Everybody Knows
4. Wonderwall
5. Come Pick Me Up
6. Fix It
7. Goodnight Rose
8. Peaceful Valley
9. Like Yesterday
10. La Cienega Just Smiled
11. Let it Ride
12. Desire
13. Sun Also Sets
14. Rescue Blues (Ryan on Keys)
15. Oh My God Whatever, Etc
Set Break:
16. Crossed Out Name
17. Why Do They Leave (Ryan on Harmonica)
18. Mockingbird
19. Off Broadway
20. Magnolia Mountain
21. Shakedown on 9th Street
22. Go Easy
23. Easy Plateau
24. Two
25. What Sin
27. Please Do Not Let Me Go
28. Dear Chicago
29. Freeway to the Canyon
30. A Kiss Before I Go
31. When The Stars Go Blue
Special thanks to Brian for my liberal use of his wonderful pictures of the evening.
Some music is just meant to be listened to LOUD, and Spiritualized certainly falls into that category. And last nights show, decibel wise, rivals any I've seen at First Avenue. Jason Pierce/Spaceman and his band brought the noise, as well as the sonic soundscape that shapes their music, and wowed the somewhat sparse Mainroom crowd. From the opening noise intro into a spectacular version of 'Amazing Grace,' Spaceman and company created waves of sound that crashed relentlessly over the audience all night. After tearing through a raucous version of 'You Lie You Cheat,' from their superb new record 'Songs In A&E,' they mellowed things out a bit with a soaring, impassioned 'Shine A Light,' from their excellent debut record 'Lazer Guided Melodies,' that really was the highlight of the evening for me. It built to such a uplifting, ebullient crescendo, that Jason could've said 'Thank you. Good night,' and left the stage, and I wouldn't have complained a bit. In these darker times, that song filled me with optimism and gave me a sense of promise that I haven't felt in a while. It was that moving. I was floored, and Jason and the band completely had command of the room and everyone's rapt attention.
Instead of the set lagging after such an incredible performance, it actually picked up quite nicely with 'Cheapster,' from 2003's 'Amazing Grace,' segueing right into a batch of new songs, 'Soul On Fire,' which is one of my favorite singles of the year, 'Sweet Talk,' and 'Sitting On Fire.' The new songs are a touch more raw than the bands earlier material, with less orchestration than Jason's used in the past, but the band (another guitar player, bass, keyboardist, drummer, and the two woman choir) really added depth to the new material, augmenting Jason's frantic guitar playing nicely.
There was a nice blend of new and old material throughout the set, and the show was paced really well. No talking between songs (of course.) with Jason not even looking at the crowd during the set, instead facing sideways on stage, towards the band. I was happy to see 'Ladies And Gentleman We Are Floating In Space,' on recent setlists, and the rendition last night was lush and gorgeous, reworked ever so slightly. It certainly was a highlight, as was the boisterous 'Come Together,' that always is a crowd pleaser, and a great song to hear live. Another favorite from the set for me was 'Good Dope Good Fun,' which was turned into a bluesy, swinging crowd singalong, and clearly found the band in top form-I almost saw Jason smile in realization that the band was on, and hitting on all cylinders. That momentum continued with a sparkling version of 'Lay Down In The Sun,' that really benefited from the lovely background vocals of the women in the choir (can you call it a choir when there are only two people? Sure.)
'She Kissed Me And It Felt Like A Hit,' was fantastic, a volatile, chaotic rocker that the band really expanded into a noisy guitar freakout. The sound, though extremely loud, was spot on all night, and it was nice to hear complete silence during the quieter moments of the set. I think the rest of the crowd was as transfixed with the performance as I was. 'Take Me To The Other Side,' closed out the main set, with the choir leaving the stage as the band really pushed their sonic boundaries to the limit. The jam bordered on self-indulgence, but quickly came to an end after Jason trashed his microphone stand, and slammed his guitar down in triumph. The rest of the band soon followed suit, with feedback ringing in the air. I thought that might be it, but the crew quickly came out to reassemble the mic's, and the band came back for an encore of 'Lord Can You Hear Me,' that was slow and exquisite, a fitting close to a show that had a little of everything-a perfect mix of the loud, turbulent guitar based songs, and the lush, gorgeous ballads. All the while, Jason stood stoic and unmoved, hiding behind his ever present sunglasses, not saying a word to the crowd, and not needing to. His sorrowful lyrics and magnificent music said it all. What a triumphant return to Minneapolis for Jason Spaceman and Spiritualized.
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