This blog is dedicated to music, live and recorded. I review shows and albums and also publish feature stories on artists.

Monday, November 27, 2006

PICK OF THE WEEK: Margot and the Nuclear So and Sos - Wednesday, November 29th - The Larimer Lounge, Denver, CO

Why You Should Go: Margot and the Nuclear So and Sos were the darlings of the 2005 South Park Music Festival here in Colorado. Since then they have signed a record deal with V2 Music and been touring all over the country. Their debut record The Dust of Retreat is a playful blend of Pop and Indie Folk that weaves in just the right amount of grit.

Live, frontman Richard Edwards runs the show with a cast of characters backing him up. The band's unique arrangements employ Rhodes Piano, a healthy dose of Trumpet and even some Cello to soften the mood a bit. The bands energy on the stage hints at their youth but makes for a fantastic performance. My guess you will walk out humming at least one song and you might even have a CD in hand.

Venue: Larimer Lounge, 2721 Larimer Street, Denver, CO - 303.291.1007

Doors:
7:00 PM

*Approximate Set Times:
Dualistics: 9:00 PM
Dirty On Purpose: 10:00 PM
Margot and The Nuclear So and Sos: 11:00 PM

*Price:
$8.00
PURCHASE

*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.

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Wednesday, November 22, 2006

REVIEW: Ray LaMontagne - November 20th 2006 - The Paramount Theater, Denver, CO

The Scene: The show was sold out and the KBCO crowd was out in force tonight. 25 - 35 preppy white folks dominated the theater. There was a contingent of younger, college-aged, fans but Denver is just too far from Boulder to have them come out in droves. On the whole the crowd was very quiet and attentive to LaMontagne's whispered vocals but at times the chatter in the back of the theater was audible. I think this was largely due to the fact that the PA was simply not turned up loud enough.

Tickets were going for up to $100 dollars on the street outside the venue but I did get let in on a little secret as I was picking up my tickets in the box office. A man walked in and asked if there were any tix available. The woman behind the glass told him there were "very few tickets available." In fact the only tickets that she had were Wheelchair Accessible Seats that they had been holding for sale to persons with disabilities. Since the show was about to begin she could release them. The kicker here is that the seats were in the front row to the right of center. So this guy walks in the night of the show (after the designated start time) and gets front row seats. Sounds like a boon to me! The morale of the story here is, always check the box office for tickets before you spend more than face value on the street.

Opener: Reed Foehl. I missed his entire set.

Ray LaMontagne: LaMontagne has exploded over the past couple of years. Just 2 years ago I caught him opening for Badly Drawn Boy at the Fox in Boulder to probably 100 people and today he is selling out 2,000+ seat venues.

One of the risks of moving to bigger venues is filling it with your sound. This was where the show at the Paramount was lacking. LaMontagne's voice is a hushed whisper to begin with and with the right PA mix he could have warmed each person individually. Unfortunately the right mix wasn't there and the audience behind the soundboard was left straining to hear for much of the show.

Despite his obvious shyness and his quiet, reserved nature, LaMontagne played the role of band leader very well. The onstage communication seemed to work very well and the band really sounded like a unit. While, I do think that the addition of horns or strings could have really improved the show I understand that this adds a huge expense to the tour. I just felt like The Paramount was a bit too big a room for this quiet man from Maine.

Touring in support of his recent release Until the Sun Turns Black LaMontagne played almost every song off the album. Opening with a solid combination of "Be Here Now," "Empty" and "Barfly" he set a very mellow mood for the evening. The first time the audience got up out of their seats was nearly 40 minutes into the set when LaMontagne broke into the funky single "Three More Days." This was where the lack of horns was the most apparent. Where the album version of the song has a funk driven power that is uncharacteristic and welcomed, the live version of the song came off a bit flat.

LaMontagne dove into the 70's for the only cover of the evening. "To Love Somebody" by Barry Gibb of Bee Gees fame. After introducing this track as one of the songs that moves him most his version got some in the audience singing along to the classic lyrics.

From here LaMontagne turned the corner on the home stretch and launched into probably his most recognized song to date, the title track of his first album, "Trouble." Again, the crowd was on their feet and sing along with their favorite skinny bearded troubador. To close out the set LaMontagne slowed the pace way down for two of the mellowest numbers on the new album, "'Till The Sun Turns Black" and "Can I Stay Here With You"

After a brief break the full band returned and ran through 4 more songs closing things up with the harmoica laced "All The Wild Horses" that rounded out the quiet concert quite nicely.

Overall the show was well executed and presented very well from a performance stand point. I think it would have been better had they either played a smaller venue for multiple nights or scaled up the size of the band. The sound just didn't fill the room the way it could have and that was a dissapointment. I would have loved to see this same set in the tight confines of the Fox Theatre or perhaps the Bluebird here in Denver.


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

Overall: B

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Monday, November 20, 2006

PICK OF THE WEEK: Polytoxic (Performing The Last Waltz) - Wednesday, November 22nd - Cervantes Masterpiece Ballroom, Denver, CO

Why You Should Go: Polytoxic has thrown this party twice before and last time The Westword called the concert the best local band concert of the year. Polytoxic may have officially called it quits but they are coming back for one last hurrah with 30 guest musicians in tow.

If you have ever seen and enjoyed Martin Scorsese’s movie documenting the original Last Waltz this evening will not be a let down. Polytoxic performs most, if not all, of the original setlist and may even throw a couple of extra songs in. They have the chops to pull it off and with two previous performances under their belt this is bound to be the best yet.

The 30 guest musicians will include Aaron Rose, who plays the role of Neil Diamond, Jessica Goodkin, sings Van Morrison’s ‘Caravan,’ Christy Chambers playing Joni Mitchell and Cheyenne Kowal from the Reals reprising Emmylou’s role in the movie. The band has also asked the Toxic Horns to join them for evening to round out the sound.

Venue: Cervantes Masterpiece Ballroom 2637 Welton Street Denver, CO 80205 - 303.297.1772

Doors:
8:00 PM

*Approximate Set Times:
Polytoxic: 9:00 PM

*Price:
$12 (ADV)
$15 (DOS)
PURCHASE

*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.

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Friday, November 17, 2006

FEATURE: Polytoxic to Perform The Last Waltz on the 30th Anniversary of the Original Concert

Thirty years ago this month one of the most storied concerts in popular music history occurred in San Francisco.

The Band performed their final concert (with the original line-up) on Thanksgiving Day, 1976 at the famed Winterland. The evening featured dinner, ballroom dancing and nearly four hours of music from the guests of honor and several of their close friends.

The evening was documented by filmmaking genius Martin Scorsese and was released two years later as the concert film The Last Waltz. Scorsese managed to capture The Band in all their glory and the film has stood up to this day as one of the best concert films ever made.

Nearly a year-and-a-half ago Polytoxic took to the stage at Dulcinea’s 100th Monkey in Denver in an attempt to recreate the fabled evening. The production was such a huge success that they scheduled an encore performance a couple of months later on the night before Thanksgiving at Cervantes. “They packed in about 900 people that night and I think the official capacity there is 750,” said CR Gruver (keyboards) in a recent interview with The Marquee.

That second performance was heralded as 2005’s Best Local Concert of the Year by Westword.
Polytoxic was a part of the Denver music scene for two years until they recently disbanded, performing their final show at the new Soiled Dove Underground this past September. “It was a great show,” said Gruver. “A sold-out crowd in one of the best sounding rooms in town. It was a treat to play there for our last official show.”

Gruver has recently relocated to his fiancés home city of New Orleans and seems very excited about the musical possibilities the city offers. “I came down to New Orleans because it is probably one of the best music towns in the country. I want to try to meet some of the big hitters and just immerse myself in the music scene,” said Gruver. “Last night we went to see The Rebirth Brass Band and I got to hang out with Ivan Neville for a little while. It is an amazing opportunity for me down here.”

While Polytoxic no longer formally exists, Gruver does allow for the possibility that this year’s Thanksgiving performance many not in fact be Polytoxic’s final performance of The Last Waltz. “We have talked about doing it every year because I would love to be able to be in Denver for Thanksgiving and get to see old friends and stuff,” Gruver said. “But for now we are considering it ‘the last waltz’ for Polytoxic.”

In much the same fashion as the original event 30 years ago, Polytoxic has structured the evening to involve nearly 30 musicians in creating their version of the concert. “One of the show stoppers of the evening is Aaron Rose, who sings ‘Dry Your Eyes,’ the Neil Diamond song. We also have Jessica Goodkin, who sings that Van Morrison song ‘Caravan,’ which is phenomenal. Our friend Christy Chambers does Joni Mitchell’s ‘Coyote’ and Cheyenne Kowal from the Reals comes out and does ‘Evangeline.’ No one is better than the person before them and they are just stellar. It makes for a pretty amazing night,” said Gruver.

While Gruver does admit that they don’t play the songs in the same order as either the original concert or the film, they do cover most of the same material.

Polytoxic may not have the budget that Scorsese and The Band did, but Gruver promises they are going to dress the place up a bit. “Last year we had these huge velvet curtains that hung behind the stage and that gave it a little bit of a classy feel. We also had candelabras up on stage with real candles and real flame and everything. We try to be as authentic to the original event as we can afford to be,” he laughed.

The Last Waltz is a milestone in American musical history. The Band went out on top and they threw themselves one hell of a party. Scorsese did it justice, but there can be no substitute for seeing a concert in person. So, unless you can figure out a way to travel back in time to 1976, this re-creation of the evening will have to do.

Check Out Polytoxic (The Last Waltz) if You Like:
  • The Band
  • Little Feat
  • CSN&Y

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Wednesday, November 15, 2006

REVIEW: The Decemberists - November 14th 2006 - Paramount Theater, Denver, CO

The Scene: Fans of all ages braved the cold November night to pack the Paramount for The Decemberists triumphant return to Denver. The guys sitting right behind us were probably in their mid 50’s while the drunken frat boys who were chanting for more 15 minutes after the lights came up were hopefully no older than 17. The Paramount is a beautiful ornate old theater that compliments The Decemberists beautifully. The energy was high in the room and everyone was expecting one of The Decemberists typically fantastic performances. Alas it was not to be, but more about that later.

Opener: Alasdair Roberts. Unfortunately we missed his entire set.

The Decemberists: This review is going to be short because to be honest there isn’t too much to say. Unfortunately Colin Meloy, the band’s frontman, was sick as a dog. From the first notes of the opener, Crane Wife 3, it was clear that Meloy’s voice wasn’t cooperating. I thought maybe it was the monitors on the stage but Meloy soon admitted that he was sick and said he was going to do the best he could for us.

I have seen The Decemberists several times and they have always put on a fantastic show but with Meloy under the weather the whole band seemed flat. There just wasn’t the energy that there usually is a Decemberists show. Unfortunately the lack of energy on the stage translated into the crowd and even during the disco funk of The Perfect Crime the crowd just wasn’t as into it as they usually are.

I will say that, though the band was flat and not on their game, the stage set was beautiful. 8 large red Chinese laterns and a beautiful Chinese woodcut style backdrop featuring a crane in flight decorated the stage and set the scene for what could have been a fantastic show.

Meloy tried, but a mere 45 minutes into the show he took everyone by surprise and announced that he just couldn’t do it anymore and the band was about to play the final song of the evening. After a relatively spirited take of “Sons and Daughters” from The Crane Wife the band left the stage and the lights came up.

Yes it was disappointing but it happens; people get sick. The one thing that I ask is next time, cancel the show. Don’t make your fans, who have paid good money, sit through a mediocre to bad performance. Sure Meloy promised us “something special” next time they came through Denver but who knows if he’ll remember and even if he does will all those fans will be able to go next time to get their reward? Probably not. If you’re sick and can’t give it your all, cancel the show . . . period.

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

Overall: B-

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Monday, November 13, 2006

PICK OF THE WEEK: The Decemberists - Tuesday, November 14th - The Paramount Theater, Denver, CO

Why You Should Go: The Decemberists live show is one to be witnessed. It is always a very theatrical production with stage props, ornate back drops and audience participation. Colin Meloy is a charismatic frontman who effortlessly leads his band through complex indie-rock compositions that couple his highly intelligent lyrics with elements of Folk and Prog-Rock to create a sound that is unique in rock music today.

With 5 albums and EPs behind them, The Decemberists have recently released one of the best albums of the year. The Crane Wife is their first for Capitol Records and they have managed to retain full creative control despite being signed to a major label. It shows. The album is full of highlights and showcases the maturity of the band both lyrically and musically. They are featuring many of the songs on the album for the first time in the live setting and as they near the end of the tour they are sure to have worked out many of the kinks that come with performing a song live the first few times.

This is a band that it hitting their stride right before our eyes. They may continue to rise or they may have reached their apex, either way with the chance to see them perform at the beautiful Paramount Theater here in Denver is not one to be missed.

Venue: The Paramount Theater, 1621 Glenarm Place, Denver, CO 80202 - 303/623-0106

Doors:
7:00 PM

*Approximate Set Times:
Alasdair Roberts: 8:00 PM
The Decemberists: 9:00 PM

*Price:
$17.50, $20.00, $22.00
PURCHASE

*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.

Labels:

Saturday, November 11, 2006

REVIEW: Jamie Lidell - November 9th 2006 - Larimer Lounge, Denver, CO

The Scene: When we pulled up to the Larimer and saw the huge retro tour bus parked right across the street from the venue we knew we were in for a treat. The line at the door was about 15 deep and we waited in the chilly November air for about 10 minutes to get in. Fortunately we were able to watch the filming of a super low budget movie right down the block. There was some bad acting and an even worse fight scene but it made for a funny moment as we all chuckled about it in line.

The Larimer was pretty crowded. Probably about 2/3rds full and as it was an all ages show there was a small teen contingent that rubbed shoulders with veterans of the Denver music scene. There were clubbers, indie-rock kids and even a tall wasted white girl. That being said, I was glad to see that the crowd wasn't as white as it usually is in Denver. Apparently this British white-boy soul singer has the chops to appeal to all races, ages and social demographics. Everyone was represented and it was great to be at the Larimer on a Thursday night and have a little bit of that big city feel.

Opener: Snax. After waiting in the line to get in the door and wading through the crowd to get to the crowded bar we missed Snax's set. I did run into him in the crowd at the begining of Lidell's set and he confided in me that he was going to get up on stage at the end of evening. "Don't tell anyone though, it's a surprise." When he did climb up on stage he added some tasty synth and vocals to the mix and between his wild hair and Lidell's Leopard print robe they made for a crazy looking duo. Lidell even admitted that they were suffering a bit from partying a bit too hard the night before in Denver for Snax's Birthday! HAPPY BIRTHDAY SNAX!

Jamie Lidell: Lidell appeared on stage at about 11:00 dressed in what appeared to be a Leopard print boxing robe and dropped right into the first song proving that the soulful voice that dominates his recent release Multiply isn't a product of studio magic.

Throughout his hour long set he dazzled with his vocal prowess and his amazing ability to create looping electronic music on the fly. I had never seen Lidell live before but I had read numerous accounts of his performances and honestly nothing really prepared me for what the experience. His vocals are worthy of all the lofty comparisson that have been directed his way and the way he wove his electronic wizardry into the mix was nothing short of awe inspiring.

During the first song or two of the set there was some talking in the back but it wasn't long before the skeptics focused their attention on the stage as Lidell descended into the first of several electronic jams of the evening. From time to time he deviated from the recorded structure of the songs but always with great results. He brings an infexious energy and a creative passion to the stage that is rarely equaled. The kids in the front were throwing their hands in the air and singing along all night. A couple times during the evening he jumped off the stage into the crowd to walk among his fans, he held the mic out and let crowd members sing back-up and at one point he even left the mic facing the crowd as we sang "A Little Bit More" while he sampled our contribution and looped the results into his mix. He made an intimate venue even more intimate because he really seemed to be enjoying his role as an entertainer.

In true rockstar fashion he saved his "hit" for last and when he said "Ok, now I'm gonna play the one song you guys know the words to," the crowd went nuts. A very tight version of "Multiply" ensued and the crowd danced their way to the end of a genre bending night at the Larimer.

The only thing missing from this evening was the video portion of his live show that has been raved about during his larger European shows. Granted, the tight confines of the Larimer wouldn't have allowed for much but it leaves me wondering what more the man is capable of. His show was already captivating and the addition of Pablo Fiasco and his visual contributions could only have thrown it further over the top. Maybe he is keeping something up his sleeve for his next tour of the states.

With his obvious comittement to excellence in both the recorded and live arenas there is little doubt that Lidell's star will continue to rise and those lucky enough to catch him in a venue like the Larimer will remember it as they crane their necks to see from the back of a packed auditorium in the future.

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

Overall: A-

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Monday, November 06, 2006

PICK OF THE WEEK: Jamie Lidell - Thursday, November 9th - Larimer Lounge, Denver, CO

Why You Should Go: Because Lidell's recent release Multiply has been getting rave reviews on both sides of the pond. His brand of Blue Eyed Soul is fresh and poppy and even a little reminiscent of Jamiroquai at times. Lidell creates danceable beats and his silky smooth vocals round out the mixes with a flavor that Prince would be proud of. On stage he plays the parts of DJ, producer, and crooner equally well as he assemlbes his set with the aid of electronic looping equipment that allows him to accompany himself when live instruments aren't present. His background in the world of Techno Funk (as half of the duo Super_Collider) will often creep back into the mix when Lidell takes the stage. The tracks that are so tightly orchestrated on the album will occasionally devolve into completely improvised electronic noise storms. He offers a little something for everyone and it is blatantly obvious the man is an artist who is pushing himself everday.

Though the small confines of the Larimer may not allow for much in the way of a visual display, Lidell has become known for outstanding visuals and often tours with a lighting and effects artist (Pablo Fiasco) who adds to the energy and might of each performance. It will be interesting to see what he manages to pull together on the little stage at the Larimer.

Click here to read a glowing review of one of Lidell's 2005 performances in London.

Venue: Larimer Lounge, 2721 Larimer Street, Denver, CO - 303.291.1007

Doors:
8:00 PM

*Approximate Set Times:
Snax: 9:30 PM
Jamie Lidell: 10:30 PM

*Price:
$12.00
PURCHASE

*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.

Labels:

Friday, November 03, 2006

FEATURE: The Decemberists Sign to Capitol and Release the Gifted Crane Wife

Colin Meloy of The Decemberists has recently had some significant and wonderful changes take place in his life. First, as 2005 drew to a close his band, The Decemberists, took the plunge and signed to Capitol Records. Then, in February of this year, Meloy’s long-time girl-friend, and the one responsible for The Decemberists album art, Carson Ellis gave birth to the couple’s first child, a healthy baby boy.

“It has irrevocably changed my life, but in a good way. It is really exciting and every day is brand new. There are always new and exciting and terrifying things to deal with, so I am really enjoying it so far,” said Meloy in a recent interview with me from his home in Portland, Oregon, as he geared up for his first major tour since he became a father. “We did a week and a half in Europe in the spring, and a couple of one-off shows but nothing you could really call a full-on tour since Henry was born.”

Meloy recently spawned another, somewhat less significant, creation. On October 3 The Decemberists unveiled their major label debut for Capitol, a masterpiece called The Crane Wife. The album once again features Meloy’s elegant wordsmithing as it musically showcases the maturity of the band. The experience begins with a sound Decemberists fans will recognize and builds to a three-song crescendo that is one part disco/funk, one part prog-rock and one part the gorgeous orchestral indie-rock that the band has become known for.

The powerful, nearly epic songs on this record highlight the fact that Meloy’s songwriting is clearly at the top of its game. He seems to have almost painted the word pictures that bring this album to life. Images such as “I tasted summer on your peppery skin” and “A gray sky, a bitter sting, a rain cloud, a crane on a wing” are not uncommon lines in these dark Victorian tales.

“Most of the songs on The Crane Wife were written while Carson was pregnant and while I was fully considering the implications of being a father. What came out was really dark for whatever reason,” chuckled Meloy. “I don’t really have any explanation for that.”

Technically speaking, the production value on the new record is excellent and the song list was put together flawlessly. The album lifts you up in strong arms and lets you down gently right where it wants you. From the bright and tinny opening notes of “The Crane Wife 3” through the final chorus of “Sons and Daughters,” which features the full company singing “Hear all the bombs, they fade away,” The Decemberists take you for an emotionally wrenching ride through an imaginary world inhabited by soldiers and sailors, bank robbers and fairy tale butchers. It is not a place for the faint of heart.

There has recently been buzz among long-time Decemberists fans that the band has “sold out.” While they have moved on and now find themselves on a major label, the majesty and passion that are conveyed in the presentation of this collection of songs simply could not have been made by a band attempting to placate a record executive. This is a record that reflects the maturity of the band both lyrically and musically. “We have really mined the talents of all the band members on this record,” said Meloy. “Capitol didn’t go after us because they expected us to be their next #1 hit machine. The conditions of us signing a major label contract were really that we retain all creative control over every aspect of the band. They have been very supportive of that.”

In fact, Meloy stressed that the support that Capitol has put behind The Decemberists enabled them to make The Crane Wife exactly the record they wanted it to be. “There were really no compromises that needed to be made. We had the freedom and, more importantly, the time to go back and scrap things and start again if we needed to. We were really able to take all the time we needed to make the record,” said Meloy.

The musical centerpiece of the album comes in the form of a 12-and-a-half-minute prog-rock suite of three songs called “The Island.” “The instrumental intro to ‘The Island’ had initially been written and I demoed it in a much heavier, electric, Sabbathy way. We recorded it that way and started working on overdubbing and when we listened to it we felt that where the rest of the song had a lot of life and spark to it, the intro felt so derivative that it had no soul. We tore it down and really had to trust our intuition as we went back in to the studio and recorded it acoustically and started building from there. Eventually we came up with what is on the album,” said Meloy.

Meloy went on to explain that the three songs that make up “The Island” are connected musically, but not thematically. “I think of it as three separate stories,” he said. “‘Come and See’ is a utopic vision of escapism; this island in the wild left to its own resources. ‘The Landlord’s Daughter’ is obviously a tale about rape and murder. I was following more traditional approaches to writing a folk ballad on that one. The third piece, ‘You’ll Not Feel The Drowning,’ was a line borrowed from In Patagonia by Bruce Chatwin, where a young boy is told to go to sleep as the ship he is sailing on is engulfed by a squall. The reason he is given is that if he is asleep he won’t feel the drowning.”

While Meloy obviously has an active imagination, he is not afraid to borrow from works of literature to jump start his creative flow. In Patagonia is not the only example of a literary inspiration found on the album. The title track itself is a reworking of a classic Japanese folk tale and Meloy isn’t afraid to admit that he finds inspiration in literature. Much has been made of the seafaring themes of many of The Decemberists songs. Meloy is quick to own up to the fact that “I didn’t have the opportunity to sail much as a child and I have gleaned much of my nautical vocabulary from Patrick O’Brien novels and other maritime tales.”

Meloy is obviously a craftsman who gives credit to his tools where it is due but on this album it becomes clear that without his band he would just be another songwriter, albeit a very good one. While The Decemberists fit into a very rare category musically, they also fit into another very rare category, a category that is defined by bands that rise to popularity simply because they are extremely talented and are hitting their creative stride as a unit, not as individuals. The nature of creativity almost dictates that this can’t last and that it must be cherished when it happens. The Decemberists are at that pinnacle right now. We would be fools not to stand up and take notice while they are in our midst.

Check Out The Decemberists If You Like:

  • Yes
  • Norfolk & Western
  • Belle & Sebastian

Labels:

Wednesday, November 01, 2006

REVIEW: Robert Randolph & The Family Band and Gomez - October 31st 2006 - Fillmore Auditorium, Denver, CO

The Scene: Costumes, costumes, costumes! It was Halloween afterall and we all know how music fans like to dress up. Over the course of the night I saw some fantasic outfits and there was even a costume contest that the Fillmore sponsored. About 30 people were brought up on stage between Gomez and Robert Randolph's sets and they had the opportunity to introduce themselves to the crowd. Third place went to a fantastic Oompa Loompa, second went to Bert and Ernie and the first place winner (and recipient of a 2007 pass to the Fillmore) was Bender from Futurama. I have to say that Bender's costume was one of the best I have ever seen. He even had glowing yellow eyes. Kudos to that guy!

Other costume highlights were Jack Sparrow (Pirates of the Caribbean), Waldo (Where's Waldo?), Shaggy and Velma (Scooby Doo), Raoul Duke (Johnny Depp's character from Fear and Loathing), The entire Adams Family and the Bearded Nun that was dancing near us all night.

Even the stage was in costume. A tapestry hung at the rear and glowing street lights on each side made us feel as if we were looking down a deserted urban street late at night. The lights that danced on the backdrop throughout the night made it look at times dark and foreboding and at others as if it were on fire depending on the feel of the music at the time. It was a great way to add that extra little bit to an already festive evening at the Fillmore.

It was a great vibe and people seemed to really be enjoying themselves all night. Even the bartenders were dressed up and having fun. People were dancing, talking and just generally partying it up for Halloween. The crowd was largely in their late 20's but the grey hairs showed up to rock along as well. Overall a very well behaved and fun crowd to celebrate the holiday with.

Opener: Rodrigo y Gabriela. Unfortunately many people missed this fantastic set, due to some some poor promotion by the Fillmore. The tickets and all the other promotional material put out for this show publicized a 7:00 start time and Rodrigo y Gabriela hit the stage at 7:05 (25 minutes early) and ended at 7:35, only 5 minutes after they were supposed to start. Fortunately Lindsay and I got there early and were able to catch about 15 miutes of their set.

Rodrigo y Gabriela are a Mexican duo who both play nylon string acoustic guitars. It is clear that much of their training is in the Flamenco tradition and they showed amazing chops as they worked together to create a dazzling sonic tapestry of percussive guitar that ranged in style from Flamenco to almost thrash metal (if you can imagine that on a nylon string guitar). Think Rocked out Gypsy Kings with two amazing guitarists.

I am not familiar enough with their music to list any song titles but suffice it to say that I will be learning more about them as soon as I can. They got a great response from the sparse crowd that had filtered into the Fillmore early and I know there were many more fans to be made had they been allowed to start at 7:30. I highly recommend checking out Rodrigo y Gabriela when you have the chance.

Gomez: I have seen Gomez a handful of times and I have got to admit this wasn't one of their strongest performances. Bathed in smoke the members of Gomez came out one at a time in full costume, The Pope, A Deviled Egg, A Fat Landlord with a Mullet and other less recognizable costumes (see pictures below courtesy of Captain Stephanie from the Gomez Forum) got their portion of the evening off to a fun start.

However, as they kicked into the first song of the set it seemed as if they were all a bit slow and things weren't gelling completely. The vocals seemed weak and low in the mix and they didn't seem to be working together as a band. In the past when I have seem Gomez they have been very tight and their live sound has pounded their songs into your head. It just wasn't true tonight.

As their 90 minutes wore on they did step it up a bit and it seemed that the Halloween spirit got into them as they became more animated passing instruments and portions of costumes around the stage. They even changed the lyrics of "Get Myself Arrested" to be "Get Myself Beheaded." By the time they broke into "Ruff Stuff" I was beginning to see flashes of the old Gomez. Their jams were tighter and the vocals were coming through with a bit more passion. Maybe I just liked the electronic influences that dominate their 2002 release In Our Gun more than their current stripped down organic sound that has made them more popular in the Jamband and pop radio cultures.

Don't get me wrong they didn't put on a bad show, I just expected more from them and they left me feeling a bit disappointed and not as revved up as I hoped I would be by the time they left the stage. Maybe it was the fact that they were playing early (8:00 - 9:30) and not in the headlining spot or the fact that much of the crowd was there to hear Robert Randolph but I don't think that Gomez brought their "A Game" to The Fillmore.


Robert Randolph & The Family Band: The Family Band came to party and their high energy, Funk infused Rock-n-Roll was exactly what the crowd was looking for to kick the night up a notch. At about 10:10 Randolph and company took the stage in costume. Robert himself was a dressed as a member of the Loyal Order of Water Buffaloes (Flintstones) I think. He wasn't quite Fred or Barney but the headgear was unmistakeable. The rest of band was looking good in full 70's funk regalia (see photos below courtesy of PaigeB1081 from the Robert Randolph message board).

As the band kicked into their first song the crowd started dancing and really didn't stop all night. Randolph's prowess on the Pedal Steel was immediately apparent to even the most novice music fan in attendance as his blistering solos added to the smoke that shrouded the stage. The Family Band backed him valiantly and kept up all night.

Two or three songs into the set Randolph introduced "The March" and the crowd went nuts. Originally released on his debut record, Live at the Wetlands, "The March" is a crowd favorite and did not dissapoint. As Lindsay pointed out, much of Randolph's music has a similar feel to it and diversity of genre is not his strong point, but if you are looking to see a tight band rock their way through some funk and soul, they are a great choice.

Also early in the set the band broke out the Curtis Mayfield classic "People Get Ready." I am a huge fan of this song but unfortunately this version just didn't do it for me. The Family Band's performance lacked the passion that is required to pull off a song that is so ingrained in the social fabric of our country. Mayfield was making a statement and that statement just didn't come through tonight.

From time to time throughout the evening Randolph stood up from the Pedal Steel and picked up a Fender Strat to show us he could handle six strings just as well as he could the 13 of the Pedal Steel. He showcased tunes from his Grammy nominated first studio release Unclassified as well as Live at the Wetlands and his more recent Colorblind. The true feel of the 70's came through when Randolph ripped into his version of "Jesus is Just Allright" that he recorded for Colorblind. Unlike the earlier version of "People Get Ready" they nailed this one. The chorus was almost up to par with the original as the band seemed to channel The Doobie Brothers for a couple of minutes.

In the tradition of a good party Randolph invited a couple of guests up on stage during his set, well more than a couple. During an extended version of "Shake Your Hips" about 40 costumed ladies from the audience climbed up onto the stage to shake their hips with The Family Band. Nurses, French Maids, Cheerleaders and others danced all over the stage as Randolph and his band gawked and tried to avoid a trainwreck.

In a less provacative move, he also invited a young guitar player to join the band for a few songs. Randolph introduced the guy (I apologize for not getting his name) as being from his hometown in New Jersey. Apparently he now attends college out here in Colorado and let me tell you he can rip! He was, for the most part, keeping pace with the band and that is no easy task.

The highlight of the evening came when The Family Band let the Funk fly with "Diane" a gem of a cut from Colorblind. The sweat was flowing as wigs bounced atop the heads of costumed dancers all over the floor. I think even Bender got his groove on to this one. If only the whole show could have had this much energy. This track is a must for fans of good ol' fashioned Funk.

The festivities wrapped up just before midnight with a powerful version of "I Need More Love" that led into Harold Faltermeyer's "Axel F" (Beverly Hills Cop). The crowd had thinned out a bit but the true revelers stuck it out to the end to see the band wave good bye from the stage as they capped off a five hour Halloween celebration at The Fillmore.

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

Overall: B+

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