REVIEW: Austin City Limits Music Festival - September 15-17, 2006 - Zilker Park, Austin, TX

Austin City Limits. It has been a Public Television program showcasing some of the best musical talent our country has to offer for 30 years and for the last five it has also been a major popular music festival. This year the Festival was held September 15, 16 and 17 in Zilker Park just a couple of miles from the 6th Street music scene. With over 160 performers, Austin City Limits Festival brings an eclectic variety of music to the eight stages set up in the massive park.

Since I got back from Austin several people have asked me what the “Highlight” of the festival was. Let me tell you, I haven’t been asked a harder question since “what’s your favorite band?” The reality is that there were many, many, highlights for me and singling out just one wouldn’t do this festival, or my memories, any justice at all. So I am going to share as many as I can.

For instance, I couldn’t go without mentioning Cee-Lo and Danger Mouse and the rest of Gnarls Barkley who played the main stage on Friday afternoon. Dressed in lab coats and plaid shirts they introduced themselves as John Nash and the Beautiful Minds while their 13 person band covered Thomas Dobly’s “Blinded Me With Silence.” It wasn’t long before the 90 plus degree heat forced Cee-Lo and the rest of the 13 person band out of the lab coats but the band never turned down the energy, pounding out nearly every track on their breakout debut album St. Elsewhere. Unfortunately the crowd thinned out significantly after summer anthem “Crazy” came to an end and didn’t catch the three songs that rounded out the set, including a set ending version of “Smiley Faces” that did indeed bring smiles to the faces of many. These guys have made me believe soul music can once again make it in the mainstream.

Later the same afternoon Thievery Corporation provided just the pick me up I needed after a mellow Cat Power set (where she did a stripped down cover of “Crazy”). Their dub infused beats, live horns, and highly energetic vocals had people dancing in the late afternoon sun more a hundred yards from the stage.

Traditional Irish Soul was featured Friday evening when Van “The Man” Morrison took the stage clad in trademark dark suit and pork-pie hat. Over the course of his 90 minute set Morrison proved that he is still every bit that musician that he was when he rose to fame in the 60’s. Though he had a full band with him including a string and horn section, it was the man on Hammond B3 organ who stole the show. In my opinion it was good to hear him play so much material from recent albums such as Pay The Devil and Back On Top and not rest on his laurels as so many of his generation have. Maybe it would have been nice if Morrison had scattered the “hits” throughout the set a bit more but he did run through “Bright Side of the Road” and “Moondance” before wrapping up the evening with “Wild Night,” “Brown Eyed Girl” and “Gloria” to send everyone out into the humid Austin night.

Saturday began for me with Centro-Matic, a local band that made it to the “big stage” for the first time. Being the first band on the main stage isn’t easy as the crowd doesn’t really fill out until later in the afternoon but several thousand people came out to support the local boys as they played their hearts out. Their fuzzed out bar-room rock highlighted by Will Johnson’s warbling tenor was a great way to kick start the day as they rocked through “Mighty Midshipman,” “Flashes and Cables,” “Calling Thermatico” and “Patience for the Ride” during their 60 minutes of “outdoor, mother fucking, big stage, rock music!”

Speaking of big stage rock music, The Secret Machines rocked the Heineken Stage later Saturday afternoon. From the opener “Alone, Jealous and Stoned,” their afternoon set was a who’s who of classic rock influences that ranged from Rush to Pink Floyd to Led Zeppelin while somehow managing to maintain a sound was uniquely their own. These three extremely talented musicians worked together seamlessly to become one of the tightest bands I heard the whole weekend.

I’ve got to admit I skipped most of The Raconteurs to check out Iron & Wine who went on right after them. I could hear bits and pieces and was told by reliable sources that Jack White, Brendan Benson and company put on a screamer of a show. They front loaded their 60 minutes with “Level” and “Steady As She Goes” and then settled down into their groove. This is probably the one set I really regret skipping.

Known for stark arrangements and a very mellow vibe, Iron and Wine surprised me a bit on Saturday night. After opening with “Sodom, South Georgia,” a shaggy Beam called on his band to ratchet things up a bit for this “big festival crowd.” Apparently afraid he couldn’t recreate the intimacy he is known for in such a huge setting, Iron and Wine proceeded to rock out. While it was great to hear songs like “Freedom Hangs like Heaven,” “Evening on the Ground,” “Jezebel” and “Naked As We Came,” I have to admit that I prefer the original arrangements to the ones that dominated the ACL set.

The crowd at the festival in general reflected the eclectic nature of the music with just about every demographic being represented, but it was probably Willie Nelson who drew the most diverse crowd of the weekend. His Saturday night performance on the AMD Stage was so crowded that getting within 100 yards of the stage after he came on was next to impossible. He opened his 75 minute set with “Whisky River” and sprinkled hits such as “Crazy” (no, not the Gnarls Barkley song), “Beer For My Horses,” “Always On My Mind,” and “On The Road Again” through his performance. It was simply too crowded to hear or see well so we decided to head off toward downtown for the late night String Cheese Incident show at Stubbs Bar-B-Q.

After waiting outside Stubbs for 45 minutes in the worst line of the weekend, we finally got inside midway through SCI’s second song, “Sittin’ On Top of the World.” While the band members claim Stubb’s as one of their favorite venues they hadn’t played there in more than six years since its capacity of only 2,300 is simply too small for most of their tours. The venue itself is a small outdoor stage in the backyard of the famous Bar-B-Q joint right on the edge of downtown Austin. In a set dominated by instrumentals such as “Rhum 'n' Zouc” and “Rivertrance,” SCI also covered Steppenwolf’s “Magic Carpet Ride” and closed out the evening with a monster version of “On The Road” that segued into opener “Way Back Home.”

Sunday afternoon brought one of the rawest rock-n-roll performances of the weekend. Sam Roberts Band came on to the Heineken Stage about 15 minutes early (a rarity at ACL) and was covered in sweat midway through their raucous opener, “The Resistance,” from recent release Chemical City. This band has captured the essence of Rock-n-Roll. The band consists of 2 driving guitars, bass, keys and big huge Bonham style drums, and Roberts himself plays the part of the charismatic front-man as well as anyone today.

I split my mid-afternoon time between Ween and Matisyahu. You really couldn’t get two more different bands, but both were thoroughly entertaining. Ween came out to a thunderous ovation and opened their set with Exactly Where I'm At. The brothers Ween were in good spirits and even covered the Paul McCartney penned “Let Me Roll It.” Apparently surprised by all the blank stares from their devoted fans Gene leaned over the mic and shouted “It’s a Wings song people, Wings.” Their 17 song set included “Touch My Tooter,” “Spinal Meningitis Got Me Down,” “Bananas & Blow” and closed with “Doctor Rock” from their 1991 album The Pod.

Matisyahu on the other hand wasn’t singing about touching any tooters, Spinal Meningitis or blow. The Hassidic Jew was focused in a decidedly more religious direction. Opener “Lord Raise Me Up” set the stage for a show ideally suited for its Sunday slot. It is as if he is channeling Eminem and Bob Marley at once to create spitfire reggae songs that pay homage to both his religious and musical backgrounds. His passionately energetic performance had the entire main stage crowd on their feet right through his finale “King without a Crown” that was first featured on Matisyahu: Live at Stubb’s recorded in Austin and became the song that really put him on the map.

The sunset slot on Sunday evening welcomed one of my most anticipated sets of the weekend: The Flaming Lips. As their set began with the sun beating on the stage, Lips front man Wayne Coyne climbed into an enormous plastic bubble which was then rolled off the front of the stage into the crowd. He proceed to walk and crawl on top of thousands of hands while an army of Santa’s took their positions stage left and an army of aliens took their position stage right. The highly interactive and slightly insane set saw confetti launched from massive cheerleader style bullhorns, huge exploding balloons, giant inflatable aliens, Santas and spacemen, and of course Coyne doused in fake blood. As day yielded to night and the festival was drawing to a close The Flaming Lips finished their memorable set with their melancholy mega hit “Do You Realize.”

The weekend wrapped up with summer festival stalwarts Tom Petty and Heartbreakers proving to the ACL crowd they were back with a vengeance. They tore through such hits as “Mary Jane's Last Dance,” “I Won't Back Down,” and “Free Falling” before a huge storm ripped through the park dumping rain on the 60 thousand plus in attendance. The band was forced to take a 30 minute break to allow the lightning to pass but returned to finish their set for those that stuck it out. The drenched crowd sang along to “Don't Come Around Here No More,” “Refugee,” and “American Girl” with such passion that Petty commended us for our efforts before careening through “You Wreck Me” to close out the 5th ACL Festival in true rock-n-roll fashion.

So there you have it, a quick glimpse into the 3 days I spent running around a huge park in Texas trying to catch as many bands as possible. Sure it was hotter than hell, the food could have been better, and at 4 bucks a can, I spent a hell of a lot of money on beer but rest assured I would do it again in a heartbeat. All 65 thousand of us were there to soak up live music and The Austin City Limits Festival is clearly one of the very best festivals the music industry has to offer these days and even if it wasn’t, the fact that it is in Austin would be reason enough to go.

Photo Credits: Cambria Harkey, Dave Mead, Scott Newton,Brent Larson, Brent Humphreys, Jack Edinger, and Celeste Casas.

Organization: A
Crowds: A-
Sound: B
Prices: C
Line-Up: A
Venue: B+

Overall: B+

REVIEW: Band of Horses - September 26th 2006 - Fox Theatre, Boulder, CO

Scene: While Band of Horses has been on the rise they haven't quite attracted the frat crew that Wolf Parade has recently. The diverse crowd ranged from the young preppy kids that just got to school at CU and don't yet have fake IDs good enough to get into the over 21 area at the Fox to the guy in his late 40's that was standing in front of me for most of the evening. Overall it was really a great crowd for Boulder. The room was probably at least 80% full, which basically means there were enough people to fill the room but it wasn't uncomfortably crowded and you could easily get around to go to the bar or the bathroom. Overall a great vibe in the Fox last night.

From the drunk and disorderly but highly amusing department, the guy that was standing next to us for the night does deserve special recognition. He was in his mid 30's and I am not joking when I say he knew EVERY SINGLE WORD of every song that Band of Horses played. To make matters even more hilarious he sang them all either a half second early or late. As my friend Jay said "there is really no other way to describe this guy other than a skinny Chris Farley." He was right on. The guy was completely amped the whole show and seemed like he was having an interactive experience with the band. "This is where they really give it to us!" and "Come on, hit us with the heavy shit," weren't uncommon to hear from him throughout the night. While he did piss off more than his fair share of people there were several of us who were highly amused.

Opener: Chad Vangaalen. Vangaalen is also signed to Sub-Pop where he recently released his second album for the indie giant. Vangaalen showed two faces during his 40 minute set at the Fox. The first 20 minutes or so he seemed to be the indie reincarnate of Neil Young. Playing guitar, harmonica, kick drum and high-hat on his own he created a sparse sound that the crowd slowly got into.

For the second half of his set he brought out a drummer and turned up the energy. He left the sparse acoustic sound of the first 20 minutes behind and brought on the noise. Let's just say that I was more of a fan of the sparse acoustic sound.

At the end of the set Vangaalen brought out a host of musicians to the stage. Members of the first band, Simon Dawes, Band of Horses, and two little children helped him out on the closing jam. Vocal and harmonica duties were supplied by the little boys and the result was more than a little creepy. Kind of like being trapped in train car at night, and who wants to be trapped in a train car at night.

Vangaalen is a talent and one to watch for in the future. If he can hone in on a sound that he is comfortable with, I think his star will continue to rise. His most recent release Skelliconnection showcases both of the sounds he brought to the Fox last night.

Band of Horses: Last time I saw these guys was March of this year and the crowd was about 50 strong. Wow how things have changed. A big push by Sub Pop on their debut album Everything All The Time, coupled with good songwriting and catchy hooks have propelled Band of Horses straight up. It was great to see so many people catching on to this young band.

As soon as the band stepped on the stage I realized again why the Fox is such a great venue. The sound is just fantastic. The raw power of the songs came through with conviction and gave me a totally different impression of the band this time around.

A scragly Ben Bridwell stood front and center with fellow ex-Carissa's Wierd member, and wanna be rockstar, Matt Brooke on Guitar to his right, but it was the drummer who almost demanded the spotlight. Wild, flailing hair and short dark beard gave him a Viking like appearance and the force with which he hammered the drums only cemented the image.

The 70 minute set was dominated by tracks from Everything All The Time, but the band did have time to squeeze in a couple of new songs and a two covers including the show closing version of ELO's "Showdown." The new tracks don't stray too much from the formula that seems to be working for them and they fit right in beside the ragged, but dreamlike, soundscapes of songs like "Great Salt Lake" and "Funeral."

The bands only noticeable mis-step during the set came at the end of the first verse of "Monsters" when Bridwell had to ask the sound man to turn down the delay in his monitor as it was distracting him. He stepped right back up to the plate and sang the rest of the song flawlessly, a credit to him as a musician and a performer.

As we left Lindsay remarked that while she really enjoyed the show, the similarity of the sound wore on her as the show went on. I would have to agree, it is good solid rock music and I can't blame them for sticking to what works, but sometimes I need a bit more variation in a show. Afterall, the Samples made a career out of catchy songs and reverb drenched vocals and look where they are today. I can only hope that Band of Horses can broaden their horizons in the next few years.

Energy: B
Sound: A-
Muscianship: B-
Stage Presence: B
Set/Light Show: B

Overall: B

PICK OF THE WEEK: Eric Bachmann & Richard Buckner - Friday, Sept 29th - Walnut Room, Denver

Why You Should Go: First of all the Walnut is a hidden gem in Denver. Located at 31st and Walnut in the warehouse district north of Coors Field, The Walnut is a combination restaurant, bar and venue. The food isn't top notch but it will satisfy late night munchies or the need to grab a quick bite before catching a show. The intimate performance space holds about 250 people and with great sound and an easily accesible bar it is a great space to hear live music.

Second, Eric Bachmann is not to be missed. He has been prolifically producing material since his days with Chapel Hill, NC band The Archers of Loaf in the early 90's. In the last 6 years he has stepped away from the punk influenced noise of the Archers and steered himself in a more folky direction as Crooked Fingers. Crooked Fingers is a loose affiliation of musicians that has evolved more and more into a band over the years. While Eric Bachmann is for all intents and purposes Crooked Fingers he recently decided to release his first album under his given name. The album, To The Races, was released on August 22nd on Saddle Creek Records and is a stellar collection of emotional acoustic songs that will appeal to fans of Crooked Fingers as well as fans of the current Indie-Folk movement.

As an added bonus to this performance Bachmann will be joined by Richard Buckner who just released his 8th album Meadow, and Nick Urata of local world indie favorites Devotchka. With Nick on the bill we can hope that Tom Hagermann (also of Devotcka) who's violin appears on several To The Races tracks, will be on hand to add his violin to the mix throughout the evening.

The intimacy of the venue and the strength of the line-up make this show my pick of the week.

Venue: The Walnut Room - 3131 Walnut St, Denver, CO 80205, 303/292-1700

*Doors: 8:00 pm

*Approximate Set Times:
Nick Urata (Devotchka): 9:15
Richard Buckner: 10:15
Eric Bachmann: 11:15

*Price:
Adv - $12.00
DOS - $14.00
PURCHASE TICKETS

*All times and prices are gathered from other sources and I am not responsible for mistakes or inconsistencies. They are intended only as guidelines. Please, always call the venue if you desire the most accurate information possible.

FEATURE: Eric Bachmann Heads "To The Races"

Whether performing as Crooked Fingers or under his own name, one thing is for sure: Eric Bachmann is an outstanding singer/songwriter. His masterful manipulation of language conjures intricate images of hope or heartache as effortlessly as his delicate finger-picking sets the mood. Standing well over six feet tall and built like a lumberjack, Bachmann is an imposing figure on stage. However, his soft-spoken banter and haunting vocals quickly shatter any preconceived notions as his audience hangs on his every word.

Bachmann’s most recent release, To The Races, is a solo acoustic record in the style of Bruce Springsteen’s Nebraska. Like The Boss, he has stepped away from his band for this record. “Crooked Fingers has really become a band over the years and it would almost be a lie to say this is a Crooked Fingers album because it is really just me. Releasing it as Eric Bachmann just seemed like the obvious thing to do,” Bachman recently told The Marquee while preparing to head out on the road for a string of shows with Richard Buckner.

To The Races is as close to a truly solo project as many artists ever get. In the summer of 2005 Bachmann holed up in his touring van to live and write the majority of the songs that make up the album. As the songs neared completion he packed up and headed clear across the country to the small Outer Banks town of Buxton, NC. There, Bachmann transformed a small hotel room into a private recording studio and set to work on his first project for Saddle Creek Records, and that is where the he began to run into some trouble. “I don’t mind sleeping in my van and I don’t mind locking myself in a hotel room to get stuff done,” he said. “The issues start when you have a computer that is crashing all the time, microphone cables with shorts in them and preamps that are always peaking out. It’s the technical stuff that’s no fun to deal with when you are 300 miles from a music store.”

Musically, Bachmann relied heavily on his acoustic guitar and vocals to carry the songs on To The Races. Supplemented only by the eerie violin of Denver resident Tom Hagerman of DeVotchKa and the angelic vocals of Miranda Brown, it is a stunning collection of songs that is sure to stand the test of time.

With the opening notes of “Man O’ War,” To The Races opens the door to a thought-provoking and, at times, heartbreaking study of solitude, with more than its share of standout tracks. “I like ‘Man O’ War’ and ‘Carrboro Woman’ a lot,” Bachmann said, reflecting on the songs he wrote for the album. “‘Man O’ War’ has a good story behind it for me personally. I wrote it while I was in Spain and had been driving a rental car around for two and a half weeks. At the time, I spoke Spanish poorly and literally didn’t speak to anyone for the entire time and I was feeling pretty weird and isolated. I ended up in Tarifa and this really hot Spanish woman started talking to me and bitching about the United States government having a military base in Rhoda, Spain. I ended up getting drunk that night and around four in the morning I woke up and that song just kinda fell out,” said Bachman.

Bachmann hasn’t always penned melancholy ballads meditating on the darker side of life, and it seems he didn’t discover the emotional gravity of his soulful baritone until several years into his career. In the early part of the ’90s he was the front man and part-time screamer for a group that released a couple of albums that bore a closer resemblance to early Dinosaur Jr. than they did Nebraska-era Springsteen.

Archers of Loaf began life as a punk-influenced indie garage rock band and in 1993 they released Icky Mettle; an album that was quickly noticed by college radio around the country. Their loud edgy songs were perfectly suited for throwing keg parties and pissing off parents. “It was really fun to be in that band and when I hear that music today I am proud of it, but I don’t really respond to that music anymore,” Bachmann said, betraying his maturity. “If I had to go back and sing those songs I’d be lying to people. Maybe I’d be over-thinking things, but that is how I am.”

While he may look back on the music that he is making today in the same way ten years from now, it is clear that these songs emanate from his soul and that his delivery is fueled by the passion of a true artist — the kind of passion that is so deeply rooted it can’t be ignored.

Check Out Eric Bachmann if You Like:

• Bruce Springsteen
• Iron & Wine
• Kris Kristofferson

REVIEW: White Whale - September 19th 2006 - Larimer Lounge, Denver, CO

Scene: The Lounge was sadly empty. Yes I know that it was a Tuesday night and all but it's a damn shame that Denver hasn't hopped on board the White Whale yet. At one point during the set I counted 25 people in the main room. There were a couple more people in the front bar and out on the patio but all told in the whole bar there weren't more than 50 people. There were about 100 present for local openers Everything Absent or Distorted. It is sad that sometimes that word doesn't get about the bands that are really on the rise.

Opener: Everything Absent or Distorted. 7 member Denver chamber pop outfit that is a bit of a mix between Low and The Arcade Fire without the energy or songwriting of either. I am all for bands on thier way up and trying to make it but I couldn't get into these guys. I didn't feel too bad going out on the patio for a beer because they had such a good crowd cheering them on. I look forward to hearing them mature if they stick it out in the music business.

White Whale: This Lawrence Kansas outfit recently appeared on the Indie Rock scene with the fantastic debut album WWI (Merge). Their sound has been compared to The Decemberists and The Arcade Fire but to be honest neither one is too accurate. Their lyrics contain some sea faring themes reminiscent of The Decemberists but their sound is their own.

Having only one album to draw material from their set at the Larimer was understandably fairly short clocking in at about 45 minutes. They opened with the 1st track from WWI, "Nine Good Fingers," and followed it up with, "O' William O' Sarah," a song that descends from a graceful ballad into a wash of noise for the last 3 minutes that the band accurately recreated live. They also showcased "The Admiral," "What's An Ocean For," and "Forgive the Forgiven" and all were very true to the outstanding album versions.

The highlight of the set was a great version of what is to me the standout track on the album, "We're Just Temporary Ma'am." The quintet was fired up for this one and while the energy didn't exactly fill the nearly empty room, it left me with the feeling that these guys are not a flash in the pan. They have decided where they want to go musically and they have come together to form a band that can get them there. They played their hearts for the twenty of us that showed up for an 11:30 set on a Tuesday night.

I only have one complaint about the show. In a recent interview I did with Rob Pope, Bass player for the band, he mentioned that they had just started to play "Fidget & Fudge" in the live setting and it was his favorite song to play live. As the set ended Lindsay went up to the stage to request the song figuring "hey there are only 20 people here, they will surely play a request for us." Alas no, Rob and Matt Suggs (lead singer & guitar) left the stage to have a cigarette and when I introduced myself outside and let them know they literally had people chanting for a song (several people had joined our cause and were trying to get the band to play the song) they blew it off saying "we just started playing that and it's a bit rough at the moment." I respect that to a degree but hell, there were 20 of us and it was 12:15 on Wedensday morning. The least they could have done is get back out there on the stage and give it a shot for us. Building a fan base is hard enough with out pissing off the only 20 people in a city that came out to your show. To their credit Dustin Kinsey (drums) Zach Holland (keys & guitar) and John Anderson (guitar) were up for playing the song.

I sincerely hope that the next time White Whale comes to Denver (and I hope they return very soon) the turn out will be better. It is a shame when bands that this much talent, and songs as good as those on WWI, don't get the respect they deserve.

Energy: B+
Sound: B (In a little club like this I don't blame the band)
Muscianship: B
Stage Presence: B+
Set/Light Show: C- (In a little club like this I don't blame the band)

Overall: B+

REVIEW: Centro-Matic - September 13th 2006 - Larimer Lounge, Denver, CO

Scene: The Larimer Lounge was sadly fairly empty tonight. A late 20's early 30's crowd of probably 70 people came out to see the Denton, TX band Centro-Matic play their first front range show in 9 months in a venue that is being reborn. If you have been the Larimer in the last year or so you will have noticed some changes. The bathrooms were reworked a little bit and the sound and lighting were improved. The stage was made significantly larger and the back patio was upgraded but the big news dropped on the day Centro-Matic came to town. The upstairs that was once off limits to show goers has been turned into 2 glorious new bathrooms . . . that's right the Larimer has new bathrooms . . . stalls with doors, toilets that flush and don't leak water (or worse) and tile floors . . . the whole deal. Some may say it takes away some of the charm of the place but I honestly think that it is huge improvement. The Larimer is one of my favorite venues in town but those old bathrooms had to go.

Opener: Kettle-Black. Checked out a few songs and then checked out. Not because they were a bad band but because it was so damn nice outside and there were picnic tables open. The folky acoustic rock vibe these guys were sending out was unpolished and the vocals were a bit weak but they do have promise. Infuse a little more energy and melody and maybe Kettle Black will go somewhere.

Centro-Matic: Every time I see these guys I like them more and more. Will Johnson's warbling tenor is soaked in the heart and energy he pours into his music and his life. The Larimer a great room to hear these guys as the intimacy and ambiance of the room suits their sound very well. Songs such as "The Mighty Midshipman," "Calling Thermatico," and "Flashes and Cables" were performed with might, passion and Johnson's trademark slow motion leg kicks.

A humble man with a remarkable resume Johnson has kept a low profile in the musical world while cranking out album after album. He is the lone songwriter for 3 projects (Centro-Matic, South San Gabriel and his solo material) and in an interview with me last December commented on his songwriting prowess. "I understand and respect the idea that there may come a day where I can’t [write songs]. So long as I’ve got it in me, and have that energy and spirit in my soul, I should respect that and get it out. There may come a day where I’m gonna go sell paint, or shoes, or sofa cushions. If that’s the case and I didn’t get it out when the getting was good, then I’ve only got myself to blame and there is nothing sadder than a great song that was never written.”

The major radio formats may not have latched on to his songs and Paste Magazine didn't name him one of the 100 greatest living songwriters but frankly that doesn't matter, this guy can write songs and he fearlessly performs them even if the room is less than 1/4 full. In a brief conversation with Johnson after the show I commented on how I wish more people had come out to hear them and his response was a soft-spoken "we always do."

A bar band in so every sense of the word Centro-Matic will probably stay under the radar but do yourself a favor and go check them out, they will renew your faith in rock-n-roll.

Energy: B
Sound: B (In a little club like this I don't blame the band)
Muscianship: B
Stage Presence: A-
Set/Light Show: C- (In a little club like this I don't blame the band)

Overall: B+

REVIEW: Dave Matthews Band - September 12th 2006 - Pepsi Center, Denver, CO

Scene: Sold Out. The crowd was diverse. On one side of us sat a couple in their mid-to-late forties and on the other side was a group that were about 19. Dave has certainly generated mass appeal over the years and it is no wonder he plays sold out arena shows on a regular basis. Our seats were in the upper deck about halfway back in the arena apprently in an area the sound techs forgot to account for as the sound was completely miserable until we moved from our seats. While the set was designed very, very well. The set designer again forgot to account for the seats in the upper deck that weren't directly in front of the stage. These are mistakes that U2 didn't make when I saw them in an arena but hey, if I'm comparing this stage set up to U2 then it must be pretty damn good, right?

Opener: Robert Randolph and the Family Band. I have been listening to Robert Randolph for about 5 years now and he is one hell of a pedal steel player. Unfortunately we didn't get the most out of his set as we were hampered by the horrible sound but he did put his trademark energy into the show, tipping his pedal steel over and kicking his chair out of the way to strike a more "rock-n-roll" pose. Had they turned the lights down all the way and had people actually shown up for the 7pm start time of the show, Randolph and company would have really warmed things up. As it was the half-lit 1/3 full arena barely got into his set. Wow did things change when the lights went down for DMB at about 8:40.

Dave Matthews Band: This was probably about my 20th Dave Matthews Band show and they have come a long way since I started going to see them in 1995. Still the same core group of musicians they have obviously added some serious personnel to their entourage. The stage was vaccumed before they came out and there was not a single cord running across the floor or road case out of place. It was a picture of order up there.

When the lights went down and the band walked out it was deafening. Young and old, male and female screaming like little girls and the band hadn't even done anything yet! When they finally started into the first song I felt a little rush myself as I realized it was "One Sweet World" from their very first album. What a great song to open with. They followed it up with "Proudest Monkey" from the Crash album and then the set took off with "Satellite." The curtains behind the stage fell and exposed 3 massive video screens that displayed the band members in all their sweaty glory. The beauty of these screens was that they did what is so very difficult in an arena show, they made it feel somewhat intimate (if you were sitting at an angle where you could see the screens). Each screen was fed independantly so Dave, Boyd (violin) and Carter (drums) could all be seen at once on a seperate screen. I was a great stage set-up despite the fact that at least 30% of the arena didn't get the intended effect.

About halfway through the set we got up from our seats and set out to find a better viewing / hearing angle. We found a tunnel directly across the arena from the stage where the usher didn't seem to mind that we set up camp and we really got the full intended effect of the show and that certainly changed my feelings about seeing this band again.

The set consisted of some of the great older songs of the DMB catalog. In addition to "One Sweet World," "Proudest Monkey," and "Satellite" (mentioned above) the band played great versions of "Crash Into Me," "Dancing Nancies," "Warehouse" and the testosterone fueled "All Along The Watchtower" with the lightning quick pick of Robert Randolph on hand to leave the audience wanting more as the band left the stage.

In another flashback to the early days of this band, Dave emerged on his own for the first encore. The song "Sister" is a relatively new song performed first in May of this year. It is really nice to see that Dave is still playing songs solo before getting the whole band involved. Some of his best material has evolved that way and it is clear he still has the ability to write powerful songs.

As we left the arena to the thunderous applause as Carter broke into the stacatto drum intro of "Ants Marching" I knew that I had witnessed a top level arena show and, while it has a ways to go before I'll give it full credit, this is a band that will be around for the duration. They have what it takes to be a U2 or Rolling Stones. If they keep refining that arena show there will be no reason not to go see them in 5, 10 or even 20 years.

Energy: A-
Sound: B
Muscianship: A
Stage Presence: B+
Set/Light Show: A-

Overall: B+

REVIEW: Zero 7 - September 6th 2006 - Gothic Theater, Denver, CO

Scene: We arrived a couple of minutes after nine and the venue was packed. The Gothic is a beautiful converted movie house with a great downstairs area consisting of a standing room only floor area in front of the stage that fades back into multiple levels (which for some reason they insist on filling with chairs) that eventually reach a bar at the rear of the house. There is also a large wrap around balcony that affords good viewing angles and large amounts of seating though the bass seems to get lost up there a bit.

The average age was probably about 27 or so with an eclectic variety of people in attendance but there was an edge in the air. Like you might imagine at a frat party. People were almost completely unwilling to let you pass by them in the tightly packed crowd and I witnessed a near fist fight in front of us. Granted the testosterone and alcohol drenched fist pumping antics, hi-fiving and general disregard for personal space of group in front of us deserved a swift kick to the head I couldn't believe it was happening at a Zero 7 show. I saw them 2 years ago in Boulder at the Fox and it was an extremely laid back crowd. Oh how the Garden State soundtrack has changed this fanbase. For the worst.

Opener: Jose Gonzalez. I recently received his CD in the mail and while I was impressed with the sound he coaxes out of his guitar's nylon strings, I had trouble making out the lyrics even with the volume way up. I had the same problem seeing him live. The din of the crowd chatter was almost unbearable and the sound was a bit loud and instead of the warmth that one would expect from a solo singer with a nylon string guitar it had a hot edge to it. During the 5 or 6 songs that he sang with Zero 7 I didn't have the same problem with the sound and enjoyed him much more.

I am not familiar with many of Gonzalez's songs but he did close out his set with a Massive Attack cover, "Teardrop," from their 1998 album Mezzanine.

While there were fans that received Gonzalez warmly, it was clear that the majority of the crowd was waiting for Zero 7 to take the stage and didn't really want to stop their conversations until they came on.

Zero 7: Last time I saw Zero 7 was a little more than two years ago and I have to say that this didn't seem like the same band. I realize they have a rotating cast of singers but the sound seems to have changed. I was a fan of their smooth electronic funk sound and while elements of that showed through, I wasn't impressed with the new direction the band seems to be taking. I also remember loving the different singers that were touring with them last time and that seems to have been left out on this tour as well. Instead of showcasing powerful soulful vocals, Sia fronted the band for much of the set. While I own her solo album and think she has a decent voice, I really couldn't get into it in the live setting. Her bouncy and overly energetic girlish attitude didn't fit with the music she was singing and again I thought that her voice was pushed to loud and sounded edgy and hot.

The band did seem to hit their stride when Jose Gonzalez joined them. Their collaborations on the new Zero 7 album The Garden are some of the best on the disc and his vocals and demeanor seemed to fit the band much better than Sia in the live setting. Gonzalez lent his vocals to "Futures," "Today," "Left Behind" and the set closing version of his own "Crosses."

Unfortunately as with his opening set the crowd didn't seem to appreciate Gonzalez's contribution to the show. What was the highlight of the show to me seemed to be taken by many as an opportunity to hit the bathroom or the bar.

Zero 7 did slip into their funk grooves a couple of times throughout the night when the vocalists left the stage, but the music often disintegrated into a storm of electronic beeps and whirrs that suggested 80's video game music.

Overall, I was looking forward to a great concert showcasing some major talents from across the pond and it was a disappointing evening.

Energy: C-
Sound: B-
Muscianship: B
Stage Presence: C+
Set/Light Show: B-

Overall: C+

FEATURE: White Whale comes sailing out of the gate with ‘Roxy Sabbath’ sound

Earlier this summer the Kansas State House of Representatives declared July 26, 2006 to be White Whale Day in the state of Kansas. Had there recently been a discovery of an ancient fossil? Had Moby Dick been hunted down in Kansas? No, the day was established to commemorate the release of Lawrence band White Whale’s debut album on Merge Records. While buzz about bands of an indie nature usually stays at a relatively low level and makes its way only to the ears of those ‘in the know,’ White Whale is apparently a favorite at the Kansas State House.

With lyrical themes that, at times, call to mind The Decemberists, and music that has drawn comparison to The Arcade Fire, it is easy to see why White Whale’s debut album, WWI, has drawn such widespread attention merely months into the band’s existence.

The eleven tracks that make up WWI convey a maturity often lacking in indie-rock. Themes of lost love and the realities of life weave through songs which often take place in nautical settings, leading to the obvious comparisons to The Decemberists. “I think that people are dwelling on it a little too much,” said bass player Rob Pope in a recent interview with The Marquee. “The nautical themes: whatever. It was really much more of a coincidence than you would be led to believe by listening to the record. It all just kind of fell together and took this theme. We were in no way trying to rip off bands like the Decemberists.” In fact, Pope and his bandmates have dubbed their sound “Roxy Sabbath” (equal parts Roxy Music and Black Sabbath).

White Whale’s “Roxy Sabbath” sound is produced by Pope, Matt Suggs of Butterglory, and three members of Thee Higher Burning Fire (John Anderson, Zach Holland and Dustin Kinsey). Pope’s last project, The Get Up Kids, Thee Higher Burning Fire and Butterglory were all successful indie bands in their own right, leading critics to dub the new band a supergroup of sorts.

While ‘supergroup’ may be stretching things a bit, this is a talented group of musicians who have all had the experience of playing in successful bands in the past. “Everyone has toured before in previous bands, so we all know the etiquette of touring,” said Pope, who had recently returned home from White Whale’s first proper run of shows. “I think the highlight of this first tour was that we always found a place to stay. We are getting it together and the audiences seem to be digging it. It will only get better from here, I imagine.”

As they continue to get more comfortable on stage, White Whale will continue debuting songs from WWI. “We just started playing “Fidget and Fudge” on this most recent tour and that was a bit of a challenge, but it is my favorite to play live right now,” said Pope. “I think our live show is a little more bombastic than the record. There is just more energy behind it. In a live setting, where we have control over how loud our amps go, we are going to pour a little more into it. We like to play loud.”

Check Out White Whale if You Like:

• The Arcade Fire
• Decemberists
• Wolf Parade

REVIEW: Yonder Mountain String Band - September 1st, 2006 - Red Rocks, Morrison, CO

Scene: WET, WET, WET! While not a drenching rain, we were enveloped in the a thick cloud as soon as the first band, Oteil and the Peacemakers came on the stage. The venue was sold out and many many people were prepared to stick it out in the wet conditions. People had rain slickers and pants. Even rain hats. September at Red Rocks is a questionable venture for sure. On Tuesday night for Bonnie Raitt the weather was amazing and tonight it was miserable. By the time we left after Yonder and got in the car it was 47 degrees and still raining. Not worth sticking it out. The crowd was a mix of bikers, older hippies and young kids there for Yonder's set.

Opener: Oteil and the Peacemakers. Oteil Burbridge is the bass player for the Allman's and his set was an interesting mixture of Jazz, Blues and Southern Rock at time calling to mind the music Jimmy Hendrix without the punch of Hendrix's blazing guitar solos. People were still filtering in throughout the set but the real Allman Bros fans in the audience were digging it.

Yonder Mountain String Band: I have been listening to the these guys for more than 6 years now and they just keep getting better. I think the first time I saw them live was at Nedfest in 2000 and they played an afternoon set to a sparse crowd. They have paid their dues and climbed the ladder to the point where they are headling venues such as the Fillmore in Denver, The Ryman in Nashville and other major theaters across the country. Their high energy brand of bluegrass was exactly what the cold and wet crowd needed tonight. They came out a couple of minutes after 7 to a standing ovation and broke into East Nashville Easter a track of their brand new self titled album. At first the sound was a bit rough due to Ben's bass really peaking out during the first two songs, but they dialed it in and soon had the venue sounding great despite the wet weather.

Throughout the set they towled off themselves and their instruments with bassist Ben Kaufman even remarking once "I'm not sure why we are doing this. The towels are as wet as the instruments which are as wet as we are." While they focused on the new album, their set drew on their entire career as a band. Halfmoon Rising and Left Me In a Hole were pulled from their first album Elevation, and Peace of Mind was pulled from Town By Town.

As their hour and half was running out Jeff Austin dedicated the final segue to all the fans that stuck it out in the rain. With that the soaked Nederland residents busted in a 15 minute finale that included fan favorites Up On The Hill Where They Do the Boogie, and Two Hits and the Joint Turned Brown. They really made the best of the situation and had the capacity up on their feet for their entire set. All in all despite the weather, The Allman Bros couldn't have asked for a better opener.

Allman Brothers: We didn't stay for this set . . . too damn wet and cold.

Setlist is below courtesy of Flying Frog Records website.
1. Don't Want You No More >
2. It's Not My Cross To Bear
3. Southbound
4. Revival
5. Who's Been Talking
6. Trouble No More
7. Midnight Rider (Devon Allman, Guitar)
8. Anyday (James van der Bogert, Drums)
9. The Same Thing
10. Hot 'Lanta
11. I Walk On Guilded Splinters
12. Statesboro Blues
13. Dreams
14. The Weight (Danny Louis, Keyboards; Andy Hess, Bass)
15. In Memory of Elizabeth Reed
Encore
16. One Way Out

Energy: B
Sound: B-
Muscianship: A-
Stage Presence: A-
Set/Light Show: B-

Overall: B