10 posts tagged “setlist”
The 7th Street Entry is a venue built specifically, it seems, for loud, sweaty rock shows. The intimacy (and, frankly, the grunginess of the place) lends itself nicely to dissonant, thunderous rock shows where you can't help but bounce of the person next to you simply because there's no room to move. Unfortunately, at last nights The Rumble Strips/Birdmonster show, there was too much room to move, with attendance barely pushing 100 people by the time the headliners got on stage. And while I try not to let crowds affect my judgment and enjoyment of a show one way or the other, good or bad, the sparse attendance did seem to have a bit of an impact on the bands, specifically the set of San Francisco's Birdmonster.
I have spent the last few days listening to Birdmonster's excellent debut 'No Midnight,' in preparation for the show, growing excited to hear these songs live. And, while I understand that they are touring their new record, 'From The Mountain To The Sea,' it was a touch frustrating not to hear more than just a couple songs from their first album. The new album, as the title of it hints at, is certainly a stylistic shift for the band, away from the loose, electric guitar based songs of their debut, to a more organic, acoustic driven, keyboard aided sound. And while their new songs are good, the band seems to be a bit more restrained while playing them. The older songs had a much more untethered feel, specifically 'Cause You Can,' which came third in the set, and really invigorated a somewhat stagnant start to the show, in my opinion. The slow start could perhaps be attributed to the fact that there were barely 30 or 40 people there during their set, prompting lead singer Peter Arcuni to remark "You guys are so quiet. We'll just take that as you being respectful."
But it seemed like the band, instead of trying to draw energy from a crowd clearly not supplying it, all drew themselves inward and used the vivacity of each other to drive the rest of the set, with each member singing energetically along with Peter to the songs (most of the time not even into their microphones), and Peter and bassist/keyboardist Justin Tenuto resting their heads on each other as they caught a grove. And, from 'Cause You Can,' (which was incredible) onwards, the set soared. 'New Country,' 'The Only One,' and 'Lost At Sea,' were real standouts from the new album, which, I admit, I need to become more familiar with. And hopefully, by the time that happens, Birdmonster will come back through town again, next time as headliners, and hopefully to a full room. Although, while talking to guitarist David Klein after the show, he wasn't bothered by the attendance, and thought it was a fun show. He also added that we are spoiled with great venues in this city. They've now played the 400 Bar, The Varsity Theater, and The Entry, and he just can't believe how many great rooms we have in this town. He's quite right, and perhaps that wealth of musical options partly explains why the gig was so sparsely attended.
Attendance had just about doubled by the time London's (by way of Tavistock) The Rumble Strips ambled onstage. But the band didn't need a full room to get things going, they were there to have a good time, and to get the people that were there dancing with their infectious, energetic songs. Starting the show with 'No Soul,' the lead-off track from their debut record 'Girls And Weather,' the 5 piece band's horn heavy, Madness-like rock sound clearly enlivened the audience. Frontman Charlie Waller has a soulful, resonant voice, and his expressive vocals, when combined with the splendid horn work of Henry Clark and Tom Gorbut, carried the songs to exuberant heights. 'Girls And Boys In Love' was an early highlight, with the jaunty, piano driven melody getting the room bouncing, and the band's debut single 'Motorcycle,' a glorious rumination on wanting something better for ourselves, was a dynamic, soaring anthem that found the band really losing themselves in the music.
The band played a majority of their album during their 13 song set, with a couple of new songs sprinkled in as well. 'Walk Alone,' was the first new one, which Charlie referred to as a sad song, and it slowed things down a bit, losing some of the momentum built by the strong start of the set (quickly regained with the grand 'Motorcycle,') and 'Hardway,' another new song, was a high-spirited tune that shows the band is heading in a good direction, especially with Mark Ronson signing on to produce their second record . But the bulk of the set was spent on songs from 'Girls And Weather,' which really is a strong and confident record, especially for a debut. The songs have a playful, instantly catchy quality to them, and that transfers really well to their live show.
'Clouds,' was a simple, but fun, exploration of a lazy day spent gazing at, what else, clouds. 'Alarm Clock' was an upbeat, lively number about getting your life together, driven by the percussion of Matthew Wheeler and the horns. It's hard to escape the horns in the music of The Rumble Strips, and who would want to. They add a modern ska-like touch to the bands buoyant pop songs, and that carefree sensibility drives the music as opposed to the lyrics, which are a touch simple at times, perhaps intentionally so. The anthemic 'Time' closed out the main set, and it's euphoric chorus, with it's promise of time passing and things getting better, had me singing along in full voice with the rest of the band. The crowd coaxed the band back out for an encore, which was a loose and lively cover of Thin Lizzy's 'The Boys Are Back In Town,' that was featured on the band's 'Alarm Clock E.P.'
It was an affable way to end quite a spirited set that even had some crossovers from the Ritmo Caliente night in the Mainroom coming in to dance along. The Rumble Strips certainly made their first foray into Minneapolis a successful and entertaining one. It's just too bad that more people weren't there to see it. Perhaps after Mark Ronson adds his touch to their new songs on their next record, the band will start to attract a wider audience in the States. But for last night, at least, there was plenty of room to dance.
The Rumble Strips Setlist:
No Soul
Hate Me (You Do)
Girls And Boys In Love
Walk Alone
Motorcycle
Don't Dumb Down
Oh Creole
Clouds
Hardway
Alarm Clock
Hands
Time
Encore:
The Boys Are Back In Town
Please check out CultureBully.com for my review along with more of Jon's amazing photos, and a video capture of The Rumble Strips performing 'Oh Creole.'
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.
I'll have a review written up later today (or tomorrow-busy day today.) But what a show! 3 hours, 31 songs, Ryan was in a great mood (other than having to shout down a clown requesting Whiskeytown songs.) The band got fined for going beyond the curfew, but Ryan didn't seem too bothered-'We're up here jamming away, lost track of time. How much did it cost me to just say that?' Great show, fantastic venue, wonderful setlist. Amazing. Look for my review later, meanwhile, here is the 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
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
...past curfew, group huddle..."Better make this one count"
31. Stars Go Blue
As someone who perhaps values lyrics above all other things in music, Sigur Rós has always had a unique place in my heart, despite (or maybe because of) the fact that I can never understand any of their lyrics. Their music has always freed me from the lyrical scrutiny I place on other bands, and allowed me the space within their music to create my own meanings to their moods and melodies. And that is why they are such a remarkable band, in my opinion, because they give the listener the opportunity to interpret the songs in their own way, and attach significance where they see fit. This freedom and interaction also creates quite a rabid and passionate fan base, as evidenced by Sigur Rós playing yet another sold out show in Minneapolis, this time at the Orpheum Theater.
Given the rather upbeat nature of Sigur Rós' new record, 'Með suð í eyrum við spilum endalaust,' I expected this show to be much more lively and celebratory than the other six or seven times I've seen them, although this was the first time since 2001 they were playing completely by themselves (without the beautiful string accompaniment of Amiina that really fleshed out their sound on recent tours). But things started out quite slowly, with the slow build (and subsequent flashing lights in time to the music) of 'Heysátan' that found lead singer Jonsi Birgisson mournfully playing a slow dirge on an old organ. The tune was more about the restraint and intentionally slow pacing of the song, than the notes the band were making, and it seemed the other members were a touch unsure of how to add depth and accompaniment to the tune. Next up was another desolate, sad number, 'Fljótavík,' from the new album. It's a gorgeous song, which Jonsi sang with passion, but again it just added to the down-tempo, melancholy start to the show.
A lot of attention in the press and blogosphere was given to 'All Alright,' from the new record, being the first song Jonsi has ever sung in English, but until last night I had no idea how fragile and tender the song is. It was also the only song of the night that found Jonsi without an instrument other than his voice. He sang while standing uneasily at the mic stand, unsure of what to do with his hands, fidgeting ever so slightly as the tune progressed and gained emotional momentum. It was a rueful ode to someone you love who's far away, letting them know that despite your intense loneliness, you still are 'All Alright.' (At least that's what it means to me-see what sort of lyrical analysis happens when they sing in English.) It was another lovely song, but somber, so very somber. This show needed a bolt of energy to liven things up.
Things picked up a bit with 'Njósnavélin (The Nothing Song)' from the '( )' album, which built to it's emotionally charged, stirring climax. And while it's still a restrained, morose song, it breathed some life into the set, and set the stage quite well for the turbulent and wonderful 'Ný batterí,' which, compared to the start of the set, went off like a bomb. It was the spark the night needed, and from here on out the set was pure sonic bliss. I've often told my friends that Sigur Rós is one of the loudest bands I've ever seen live, and they are incredulous. But this song (and some of the ones that followed) only proves my point. Starting with a Jonsi-led, feedback-laced intro to the song that was reminscent of Sonic Youth, this song eased was propelled by the pounding drumming of Orri Páll Dyrason (sporting a festive crown for the evening), which shook the walls of the old Orpheum, and certainly woke up anyone who was lulled to sleep by the slow paced start of the show. It was an incredible song that seemed to inject some energy into the crowd and the band. And the band kept the momentum up, with one of my favorite songs on the new album, 'Inní mér syngur vitleysingur,' which found Jonsi sharing a bench with pianist Kjartan Sveinsson, both of them playing lively keys that carried the buoyant song, with the screens behind the stage capturing the movement of their sets of hands on the piano. It was this celebratory and festive aspect of the new songs that I was expecting to hear more of coming into the show, and it really was a highlight of the set.
'Sæglópur,' found the entire band gathered around the various xylophone's onstage, each playing out a part of the opening melody before switching to their standard instruments, and propelling the song to it's glorious heights. This song has always been one of my favorites, and last nights version was powerful and stunning, again led by Orri's frenetic drumming and Jonsi's imploring falsetto. 'Hafssól,' is a song meant to be heard and experienced live. The distinctive way Georg plays bass by strumming the strings with a stick is a feat unto itself, laying the percussive groundwork for a truly unique and moving song that is unlike anything else in modern music, and last night it built to a cacophonous crescendo that left me and everyone else in attendance floored. It was phenomenal.
The party that is 'Gobbledigook' closed out the main set, and even though I tried to steer clear of reviews and spoilers regarding the current live show, I knew going in about the confetti and added percussion and audience participation for this song, so that part, although completely enjoyable, wasn't a surprise. However, the sheer volume of confetti was indeed a surprise, and having a Sigur Rós show suddenly turn into a Flaming Lips concert was very unexpected, and quite joyous. At all the Sigur Rós shows I've seen in the past, the crowd has always been silent and respectful of the band, so it was nice to be able to let loose with the band a little bit, and the band certainly enjoyed it as well. It was a jubilant end to a main set that had become transcendent.
And after the standing ovation, and the band's customary curtain-call and group bow, that was it. There really isn't another live act out there quite like Sigur Rós (although opening band Parachutes certainly tries, sounding so much like the headliners that it was awkward. A good band, mind you, they just have to find their own style and sound), and while this show was fantastic, it was slow in it's build-up and energy. Usually, you don't have to wait for something transcendent to happen at a Sigur Rós concert, it happens right away. But this show, you had to be patient, and brave the melancholic start of the concert, to get to the exuberant and incomparable moments, of which there were many. Those are the heights that Sigur Rós can take you to, and sometimes it takes days to come down. Thank you, lads, for another incredible concert experience. Come back soon.
SETLIST:
Heysátan
Fljótavík
All alright
Njósnavélin
Ný batterí
Inní mér syngur vitleysingur
Hoppípolla/Með blóðnasir
Við spilum endalaust
Viðrar vel til loftárása
Festival
Sæglópur
Hafssól
Gobbledigook
Encore:
Illgresi
Popplagið
Most of Minneapolis missed out on seeing the future of British folk music at the 400 Bar last evening, with only around 75 people witnessing the wonderful triple bill of Mumford and Sons, Laura Marling, and Johnny Flynn. It’s a shame, because all three young bands bring a fresh and youthful perspective to the singer/songwriter genre, and if this show took place in England, they would have sold out a much larger venue than the 400 Bar. But it was a nice, intimate show that really showcased three talented songwriters with wonderful voices.
First up was Mumford and Sons, fronted by Marcus Mumford (who would later play drums for Laura Marling’s band). They played a lively, spirited set despite the fact that there were only a small handful of fans in attendance. A few of their early jokes fell a little flat on the quiet crowd (one was about how the haven’t heard anyone say ‘Yah,’ in Minnesota yet) causing the electric banjo player to kiddingly remark that “This is as far away from home I’ve ever been. And the farthest away from home I’ve ever felt.” But the crowd and the band warmed to each other nicely, and the group really hit their stride on tracks like the jubilant ‘Roll Away Your Stone,’ and the sorrowful ‘White Blank Page.’ They played predominantly without drums (save for a bass drum that the singer occasionally kicked while playing), and that allowed for the strong vocals of Marcus to shine through, setting a wonderful opening tone on a night filled with distinctive and rich voices.
I was surprised to see Laura Marling and her band setting up next, for I thought her recent Mercury Music Prize nomination for her album “Alas I Cannot Swim,” would entitle her to be the headliner. But the unassuming 18 year old settled in quickly, opening her set with the evocative ‘Ghosts,’ that was augmented quite well by her full band behind her (as opposed to the sparse solo acoustic version I saw her play on Jools Holland.) She has a true gift as both a songwriter and a singer, and both of her gifts were on full display last evening, with her beguiling voice singing the intricate and often heartbreaking lyrics of lost love and exploration that belies her young age. She has a rather diminutive stage presence (standing cross-legged and rarely looking directly at the audience), but her full, resonant voice more that makes up for her timidity, filling the club with the sounds of her sorrow and her dreams.
She also played two lovely new songs for us last evening, 'Rambling Man,' and 'Alpha Shallows,' (although she joked with the crowd, declaring that “All these songs are new to you, really.”) And I’m sure there were a few people in the audience that were discovering Laura Marling last night, being treated to the beauty of her songs for the first time. ‘My Manic And I,’ is as dynamic and complete a song as I’ve heard recently, a unique study of human relationships, depression, God, and love, all in a three and a half minute pop-song that was the highlight of the set for me. Laura truly is a singular musical talent, who hopefully will continue to flourish for years to come within the confines of the music industry, providing us with many more albums filled with her distinctive music and insightful lyrics, and hopefully more shows in Minneapolis, that ought to be better attended as her name recognition grows.
Laura Marling's Set List:
1. Ghosts
2. Blackberry Stone
3. Your No God
4. My Manic
5. Night
Terror
6. Rambling Man
7. Alpha Shallows
8. Cross Your Fingers
9. Alas
I Cannot Swim
Johnny Flynn and his band, ‘The Sussex Wit,’ have songs that should be (and probably are, in his native England) pub anthems, and the sparsely filled and relatively quiet 400 Bar didn’t necessarily suit his rousing songs. But again, we were treated to an intimate glimpse of a songwriter whose lyrics are filled with a depth of knowledge and insight that is at odds with his young age (only 25,) and he and his seasoned band rolled through most of the tracks from his excellent album, ‘A Larum,’ in a stirring set. His songs and lyrics are steeped in Englishness, causing me to think of, and miss, jolly ole’ England throughout his set.
The electric banjo once again was featured prominently in the music, as was the cello, violin, and trumpet, and those instruments added to the festive but mournful nature of the songs. ‘Brown Trout Blues,’ was a despondent, melancholy highlight of the set, with lyrics about being happy with who we are, even when that is not enough for the people we love. ‘Cold Bread,’ was another standout of the set that would have been better served with a Saturday night whiskey-soaked crowd (as opposed to a rather subdued Sunday night crowd) that could have turned this into the rousing sing-along that the song deserves and probably is with an audience more familiar with his music and lyrics. But it was an altogether engaging set, filled with the feisty, spirited songs of Johnny Flynn, a talented songwriter that we should hear more from in the future.
It was a great triple-bill last evening at the 400 Bar, one where the bands were all friends, shared instruments and even swapped performers, and all of the acts displayed their own unique and fresh talents that will take the future of British music in whatever direction they choose. It’s just too bad more people weren’t there to witness it. But those of us that were will consider ourselves lucky to have seen the start of what should be flourishing musical careers from all of the artists on stage last night.
Thanks to Brody @ Britishrockisalwaystop for the photos (see more at his Flickr.)
In case some of you didn't watch (why not? It was incredible), here is the setlist from the Radiohead show last night. I found it very interesting that they took the stage just after Barack Obama's speech was finished, which leads me to think they were backstage watching it before the show. Hopefully, they were as impressed as I was, and hopeful for this country, as I am. Quite a night-near sensory overload with the speech and the concert. Good thing the Twins were around to bring me back to earth with another heartbreaking loss to a team a bunch of little leaguers should beat. Nice work, Jesse Crain. But I digress. Take a look at the setlist, and kick yourself for not watching (or, if you did watch, thank Comcast for not having the internet restrictions that they plan on implementing on October 1st BOOOOO!!!!!!.) I've embedded a vid of 'There There' from the set, for those of you that missed out, and for those that would like to relive a portion of the show.
01. Reckoner
02. Optimistic
03. There There
04. 15 Step
05. All I Need
06. Nude
07. Talk Show Host
08. Arpeggi
09. The Gloaming
10. Morning Bell
11. The National Anthem
12. Faust Arp
13. No Surprises
14. Jigsaw Falling Into Place
15. The Bends
16. Karma Police
17. Bodysnatchers
Encore 1
18. Cymbal Rush (Thom Solo on Piano)
19. House of Cards
20. Paranoid Android
21. Go Slowly
22. Everything In Its Right Place
Encore 2:
23. Videotape
24. Lucky
25. Idioteque
Coming onstage to 'Let's Go Crazy' certainly was a good start, with the crowd already dancing before they even played a note. And the energy and buzz that comes with just seeing a band like The Hold Steady stroll on stage, especially in Minneapolis, was certainly there, as the band tore into 'Constructive Summer,' the opening track from their new record, 'Stay Positive.' The crowd up front was a swarm of pogoing and fists thrown into the air. It was a great beginning to the show, and they kept the energy up with a good rendition of 'Hot Soft Light.' But the vibrant start waned a bit with a somewhat lackluster 'Chips Ahoy,'(I've always found this tune to be rather goofy, anyway) followed by the first single from the new record, 'Sequestered In Memphis,' which I find to be rather repetitive and flat on record, and live it was a touch better, but the band were reaching for an energy that the enthusiastic and adoring crowd couldn't provide. The crowd also couldn't do anything about the muddy mix from the soundboard, with Craig's vocals barely audible at times, and Galen's bass really overwhelming the sound-which is unfortunate because they are a band whose songs are driven by the lyrics and Craig's storytelling.
It was at this point that I decided to take in the show from a different vantage point (to see if the sound was better elsewhere, and to get a beer), so I left the frantic confines of the main floor for the balcony. And, unfortunately, the sound was just as muddy up there, if not more so. The band meandered through a few newer tracks ('Yeah Saphire' & 'One For The Cutters') that, while good, didn't quite resonate as much as I would've liked, and even 'Stevie Nix' seemed a little tame, compared to past times I've seen that song performed live. It wasn't until 'Massive Nights,' that things really picked up again, with the rousing chorus making for a club-wide singalong, and it was a treat to hear 'Two Handed Handshake,' a new album bonus track, performed live for the first time, with Tad really leading the way with his frantic guitar work, and the lyrics 'We had First Ave on Fridays, we're pirates in port, We go in and get high, two at a time, we get drunk on the sport.' obviously finding it's intended audience, but the song would have benifitted from the catchy horns used on the album version.
But just when it appeared that the spark had been set to take this show to another level, they slowed things down with back to back new album ballads 'Joke About Jamaica' and 'Lord, I'm Discouraged,' that were both good, but the momentum that was building was lost temporarily. Until 'Hoodrat,' that is. The band killed it, and the crowd responded in kind, with the whole floor awash with mad dancing. It was this song that caused me to wish that the rest of the show prior to that had been filled with this unabashed energy and zest. But they built on that momentum by tearing through the title track of the new record, with the crowd again singing along with everything they had, because, after all, "The singalong songs will be our scriptures." They closed the main set with an impassioned 'Slapped Actress,' that built to a stirring climax that had the crowd serenading the band as they left the stage.
Other than Craig drunkenly forgetting and flubbing the spoken word intro to 'Positive Jam,' (blushing and embarrassed, he continually looked to the audience for help with the lyrics, which they did in full voice), the encores were boisterous and loud. 'Stuck Between Stations,' has turned into a Twin City anthem, and was, in my opinion, the high point of the set. 'How A Resurrection Really Feels,' was a benevolent ode to having your life saved, that had Craig and the band dancing around the stage, completely connecting with the amiring audience. And when they triumphantly left the stage, I felt the night might be over. But the deafening applause brought the band out for another encore. 'Certain Songs' seemed like a direct thank you to Minneapolis for sticking with the band through the years, and was passionate and perfect. It couldn't really be a Hold Steady show without 'Killer Parties' being played, and the band obliged, complete with Craig's "There is so much joy in what we do," speech, that never gets old, nor ever comes across as false or contrived. He, and the band, mean it. They are legitimately having the time of their lives on stage, and that joy is transferred naturally to the audience. Which is why it's impossible to not have a good time at a Hold Steady show. The crowd had one last chance after Craig's speech to go crazy and visibly show the band how good a time they were having, and they didn't disappoint, with the entire main floor bouncing in time to the music, lost in the good time that is, and always will be, a killer party.
So, there really was no other place to be last evening. Seeing The Hold Steady at First Avenue is something any fan of the band should try and do at least once. They love the club, and always pour their hearts out when they play here (as they do everywhere, of course), and last night was certainly no exception. It was a fun night, and a good show, but everyone wanted something magical, and perhaps that was too much to ask. The Hold Steady simply might have set the expectations of their fans so high with their incredible live show, that anything less than magic might seem to be a disappointment. And no one walks away from a Hold Steady show disappointed, it's not allowed. I'm still smiling, even though my head hurts, I didn't get nearly enough sleep before work this morning, and my clothes from last night are covered in booze and sweat, but I wouldn't want it any other way. It almost killed me. Almost.
SETLIST:
Constructive Summer
Hot Soft Light
Chips Ahoy!
Sequestered In Memphis
Yeah Sapphire
One For The Cutters
Stevie Nix
Hot Fries
Magazines
Sweet Payne
Party Pit
Massive Nights
Two Handed Handshake (First Time Played Live)
Joke About Jamaica
Lord, I'm Discouraged
Your Little Hoodrat Friend
Stay Positive
Slapped Actress
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Positive Jam
Stuck Between Stations
How A Resurrection Really Feels
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Certain Songs
Killer Parties
Pearl Jam played a triumphant three hour headlining set at Bonnaroo on Saturday evening, mixing in rarities and crowd favorites throughout their 26 song set, reminding everyone in attendance why they are one of the best live acts going. Starting off the set with ultra-rarity 'Hard To Imagine' from the nearly unseen movie 'Chicago Cab,' they tore through as many songs from the odd's and ends collection 'Lost Dogs' as they did from proper albums through six songs, including the first ever live performance of 'All Night.' The set continued on, gathering steam with 'Who You Are' being played for the first time in 10 years (except for the night before in Florida), and the main set closed with a killer triumvirate of 'Love, Reign O'er Me,' 'Do The Evolution,' and 'RVM.' The momentum continued into the encore, with 'W.M.A.' getting the full treatment for the first time in years, a great version (is there any other version of this song from these guys?) of 'Crazy Mary,' into a rousing 'Porch,' and 'Release' strangely showing up at the end of the set for a change. Throw in 'All Along The Watchtower,' as a closer (played live by the band for only the 5th time) and it was, by all accounts, a legendary live set by a band that never disappoints. I can only hope that they add a local date sometime soon, preferably at Alpine Valley (a site where I have been lucky enough to witness some legendary sets by the band over the years, beginning in '92 at the second Lollapalooza.) In the meantime, I will just have to abide with the soundboard quality bootlegs the band continues to provide their fans for each of the shows Pearl Jam Official Bootlegs, and this awesome YouTube of their riveting, reworked performance of W.M.A.(still waiting for a vid of 'Hard To Imagine' to surface.) Overall, this was an uplifting, jubilant performance from Pearl Jam that makes me proud to be a fan. So, check out the setlist (and other videos as they continue to roll in) and kick yourself, like I am, for not being there to see this happen live. Or, if you were there, congratulations, you saw a great show, and I'd love to hear your thoughts and recollections about the night.
Setlist: Hard To Imagine, Corduroy, All Night, Why Go, Elderly Woman Behind The Counter In A Small Town, Down, Who You Are, Severed Hand, 1/2 Full, Animal, Even Flow, Daughter, Gone, Love Reign O'er Me,
Do The Evolution, Rearviewmirror
Encore 1 W.M.A., Better Man(Save it for Later), Black, Life Wasted, Crazy Mary, Porch
Encore 2 No More, Release, Alive
Encore 3 All Along The Watchtower
There were some storming performances inside the Xcel last evening, to match the storms raging outside in St. Paul, with both R.E.M. and The National delivering surging, energetic performances, while Modest Mouse, unfortunately, played a substandard, listless set, that when held up against the other two bands, couldn't be viewed as anything other than a disappointment. But no matter, the night was filled with great music, and that is what I was there to see.
Unfortunately, the night started on a bad note for me, with my small camera/video recorder getting confiscated on my way in to the Xcel Center. I understand their policy, I suppose, but R.E.M. has set up a webpage (R.E.M. Tour) specifically for fans to post their pictures and videos taken from the show. So, the Xcel was standing in a direct opposition to the band's policy, which was frustrating to me. So, unfortunately no pics of The National or Modest Mouse.
The arena was pretty empty when The National strolled on stage promptly at 7. But that didn't cause the band to timidly play a lifeless set, rather they took the sparse crowd as a challenge, delivering a rousing set consisting of mainly 'Boxer' material that hopefully won over a bunch of new fans for the band. (I know they won over the guy next to me, who said-"This might be a stupid question, but who the hell was that? They were great.") Leading off with 'Start A War' that found Matt playing some percussion at the end of the song, the band settled in and played a wonderful sounding set. Matt found a level of comfort with the arena setting as well, saying that "This is the first arena show for The National. It's pretty cool." And eventually, he was so at ease that he introduced a song by claiming "This song is called Squalor Victoria. It's awesome." That line had me cracking up all night. Like I said, their set leaned heavily on their excellent 2007 record 'Boxer' playing 8 of the albums 12 tracks, including stellar versions of 'Slow Show,' 'Mistaken For Strangers' and 'Apartment Story,' which was so emotionally charged that it just might have been the best song I heard all evening. They also dug into 'Alligator' tracks, dedicating 'Baby, We'll Be Fine' to themselves, which also had me laughing, and closing with a fiery 'Mr. November,' that had Matt cursing up a storm and me completely blown away. Of course, it would have been better to see The National at a more familiar, intimate venue (their 400 Bar and Fine Line shows from last year were incredible), but it was great to see the band meet the challenge of an arena show with some bombast and energy, hopefully winning over many new fans in the process. Well done, lads.
Now, Modest Mouse have always been an unpredictable band. I've seen them about 15 times now, and some shows are a shambolic mess, some shows have been stellar and absolutely unforgettable. So, you never know what you are going to get (sort of like Cat Power and Ryan Adams). The addition of former Smith's guitarist Johnny Marr to their touring band last year has helped to solidify their sound and keep Issac Brock on task, adding a much more polished, professional demeanor to the band. But that professionalism has taken some of the fun from the band, it seems, and they no longer have the rough, sprawling performances that I've grown to love. With that said, what we got last evening from Modest Mouse was a song-by-the-numbers, listless performance that at times bored the hell out of me. The band had very little energy, and their song choices seemed a little odd as well. Not that I ever need to hear 'Float On' again, but there were thousands of people there last night that probably only knew of Modest Mouse because of that song-and yet it went unplayed, along with another radio hit 'Ocean Breaths Salty,' in favor of other lesser known songs, like 'Wild Pack Of Family Dogs,' 'Satin In A Coffin,' and 'The View.' Even 'Truckers Atlas,' one of my favorite songs from their catalog, was a truncated mess, completely devoid of the passion or perspective of the traveler, sounding rather like someone who is settled in to where they were going, rather than seeking out somewhere new. There were some high points, like a volatile 'Paper Thin Walls,'and 'Black Cadillacs,' as well as 'The Good Times Are Killing Me' that found Johnny playing the organ, which was cool to see. But overall, especially compared to the sets by the other two bands last night, their performance was distant and scattered, and felt like a band that didn't want (or isn't ready) to play an arena.
R.E.M. thrive under the large spotlight of the arena show setting, with both their sound and their stage set expanding over the years to fill any stadium they choose, and their performance last night was invigorating, energetic, and politically charged. I was wondering if the band would make any mention of playing in the same arena that Barrack Obama claimed the Democratic nomination two days earlier, and of course Michael Stipe was pretty chuffed about it, proudly saying that "Something historic happened in this building two days ago. And you people helped make that happen." And with that, R.E.M proceeded to play a dynamic, career spanning two hour set that energized everyone in attendance. Starting with the rollicking 'Living Well Is The Best Revenge,' from their outstanding new album 'Accelerate,' the band really appeared lively and full of verve, boldly playing a set that dug deep into their enormous back catalog. They played spirited versions of 'Disturbance At The Heron House,' 'One I Love,' and 'Welcome To The Occupation,' from 1987's remarkable 'Document,' as well as a fantastic rendition of 'Auctioneer,' from '85's groundbreaking 'Fables Of The Reconstruction.' They even busted out two tracks from their debut full length 'Murmur,' playing heartfelt versions of 'Shaking Through' and album closer 'West Of The Fields.'
But tonight was the 'Accelerate' tour, after all, so they played 8 of that album's 11 tracks, including rousing performances of 'Man Sized Wreath,' which Stipe said was about a 'great President who died, and Martin Luther King,' a tender version of 'Houston,' that he said was about 'our country's horrible response to Hurricane Katrina,' and spirited
I was bummed to see both 'Drive' and 'Imitation Of Life' on the setlist, but unfortunately crossed out. But that is simply nit picking a great show, for this set was definitely for the long time fans, with the band dusting off more nuggets than radio hits, and brazenly playing with the energy of a band half their age. The light show, with their slot-machine-like bars constantly mixing images from the stage and crowd, was quite entertaining as well. I have included video below of both 'Electrolyte,' and 'Sweetness Follows.' And while the video quality is a touch blurry (like most of the photos I took, unfortunately) the audio is pretty good. A great night for all who attended, a testament to the power of music, and the durability of a band who has always done it right.
So, all I've really been able to concentrate on today is the kick off of Radiohead's US tour in West Palm Beach, FL, last evening. It's a killer setlist, the band, from all accounts, seemed to be in great spirits, and the music most definitely was sublime. Thom certainly seemed to get a kick out of all the plastic surgery he witnessed during his stay in Miami, claiming that 'For once, I'm proud to be white, pale, and English.' This band never disappoints live, didn't seem to last evening, and hopefully won't during their Lollapalooza performance, which I will assuredly be attending. Here is a vid of last nights performance of 'There, There.' The audio is solid, but you can barely make out the lads on stage. Their stage set up definitely looks fantastic, though.
Setlist:
01 all I need
02 bodysnatchers
03 there there
04 reckoner
05 the gloaming
06 morning bell
07 nude
08 how to disappear completely
09 15 step
10 arpeggi
11 idioteque
12 bulletproof
13 where I end and you begin
14 airbag
15 everything in its right place
16 the national anthem
17 videotape
encore
18 optimistic
19 just
20 Faust Arp (thom & jonny)
21 exit music
22 bangers and mash
encore 2
23 house of cards
24 street spirit
