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

Tuesday, April 22, 2008

REVIEW: Copper Sunsation Festival - April 12 & 13, 2008 - Copper Mountain, CO

Saturday: Let’s make one thing perfectly clear. There ain’t no party like a P-Funk party. Like it or not, it’s true. George Clinton and his band of misfits have been dishing out the Cosmic Slop for nearly 40 years and if their performance at Copper Mountain was any indication, they are still going strong. Sure, the cast of characters has changed a bit, Bootsy Collins and Bernie Worrell came and went along with many others, but Clinton still surrounds himself with very able musicians and several of the old timers are still funkin’ it up with him.

A small portion of the band took the stage at about 2 pm just as the snowflakes were beginning to fall and noodled their way through a couple of warm up jams to melt the frost from their fingers before the full force of the P-Funk storm hit us about 40 minutes later and the group blossomed to about 12 members. Leading the charge for the first 30 minutes or so was long time funkateer Garry “Starchild” Shider. Though Shider has been with P-Funk since the 70’s and is known for his penchant for emerging on stage clad in only a diaper the snow and freezing temperatures kept the diaper at bay to the dismay of many in the crowd. “You may know me better in a diaper,” he said at one point, “but it’s just too cold out here for that today.”

As the snow increased in intensity and the crowd managed to get their groove on despite the thick layer of late season snow and ice under foot, P-Funk turned up the heat and Clinton himself finally emerged suitably attired in a ski coat that was covered with golden imprints of cash. He remained on stage for much of the rest of the 2 and half hour performance trading vocals with Shider and others as the band funked up a classic set-list that included “Up For the Down Stroke,” “Flashlight,” “Atomic Dog,” and of course the classic “Give Up The Funk.”

One of the musical highlights of the set was the epic psychedelic guitar solo during the legendary “Maggot Brain.” Featuring long time P-Funk guitar hero, Michael “Kidd Funkadelic” Hampton this song stretched well past the 10 minute mark and marked one of the longest single songs of the set. As he wailed and conjured up images of Pink Floyd’s David Gilmore much of the rest of the band took a break to warm up backstage before diving headlong back into the set and going strong until the stroke of five O’Clock.

During the second half of the set, Clinton and company featured a few tracks from their most recent release How Late Do You Have To Be Before You’re Absent, including the highly danceable “Bounce to This” and the rap “Somethin’ Stank,” which regrettably didn’t feature Sativa as it does on the album. None the less, the mountain crowd loved the message of the song and obliged by sending up plumes of the sweet smelling smoke that has fueled so many of these parties.

In addition to the obligatory drug references, the performance was full of sexual innuendo largely fueled by Carlos “Sir Nose” McMurray, who emerged several times throughout the afternoon and seemed to take delight in flipping off the crowd and grabbing at his crotch as he undulated to the music in a shaggy white fur suit and wide brimmed hat. As the party raged on, the band seemed to have some kind of cosmic control over the snow fall as it seemed to come down harder and faster when the funk was raining down hard and let up as the band slowed the pace. It was a unique experience to party with P-Funk in the snow and one that many in the crowd will not soon forget I am sure.

Sunday: Sunday morning dawned a completely different day as so often happens in the Colorado springtime. By mid-morning the temperature was in the fifties and there wasn’t cloud in the sky. As a result the scene at the base of the mountain was totally different than Saturday. When the techno fueled Lotus took the stage the dance floor was noticeably sloppy as the ice and snow were beginning to melt in the hot mid-day sun and there were shirtless guys and girls in tube and tank tops brushing shoulders with the hardcore skiers in their North Face and Mountain Hardware jackets.

Though there was a noticeable contingent of Lotus fans with their hands in the air there is no doubt that the band won over some new fans as their energetic sound permeated the decks, patios and bars that surrounded the stage area. From the opener “Suitcases,” through the final note of “Sunrain,” the band was firing on all cylinders. The rock solid rhythm section of Steve Clemens, Chuck Morris and Jess Miller provided the foundation for Luke Miller and Mike Rempel to stretch out and take the trancelike melodies to the next level. There were moments when they seemed to have it turned up to 10 and then they pushed it a little bit further. This has always been a hallmark of a great jamband and Lotus is well on their way. They harnessed the energy of the crowd and fed off of it for the duration of the 90 minute set and didn’t let up for a minute.

After Lotus wrapped up their set, the weekend, and the ski season, was drawing to a close. But not before the Hassidic Reggae of Matisyahu rocked the sun-soaked music fans who had crammed the base area to hear him perform. Despite his set being absolutely plagued by sound problems that sent shrill feedback echoing off the walls of nearby mountains, Matisyahu delivered an upbeat set that was a perfect compliment to the weather. The hope and good vibes that are radiated out by this man as he moves around the stage like an MC spreading his music to the world can’t be denied.

The set featured many of Matisyahu’s crowd pleasers, but also featured guest musican Trevor Hall who emerged midway through the set with his guitar in tow. The pair played a song they had co-written called “I Will Be Light,” that will likely be featured on Matisyahu’s next album.

As his set drew to close, and with it the 2007-2008 ski season at Copper, I was struck by how perfectly this weekend had ushered in the summer festival season. With the snow and cold weather that we endured for P-Funk to the bright, warm sun that brought with it the trance-jam of Lotus and the Reggae of Matisyahu, this festival perfectly represented the unpredictable weather of the mountains and Colorado’s insatiable appetite for good music.

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

Overall: B+

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Friday, April 11, 2008

REVIEW: The Black Keys - April 9th - The Ogden Theater, Denver, CO

Note: I got to cover this show for Spin.com . . . yeah Spin! Hopefully my first of many gigs for them.

Photo: Eric Gruneisen

The Scene: Even before the opener, Jay Reatard, came on the Ogden was pretty full. Evidence to the mass appeal of this band, tickets were going for $70 and there were under 21s mingling with grey hairs all the way up the rail. By the time the brief opening set was over people were jockeying for position and holding their ground as the temperature began to rise and it really began to get packed.

Opener: "The Chubby Ramones" was what the guy next to me called Jay Reatard, and he was pretty much right on. They are significantly younger than the Ramones but their sound owed an enormous debt to band like the Ramones and others of that era. Rarely acknowledging the crowd, except for flipping the bird to us all as they walked off stage they ran through about 12 songs in less than 25 minutes. Short and sweet . . . and loud.

The Black Keys: This show was raw. I don't mean delicate and tasty "sushi raw," I mean "day old hamburger that's been sitting by the grill all night," raw. The kind of raw your momma didn't want you going anywhere near. It's mean, retching from the gut rock'n'roll, and it's delivered with passion. After the brief, spitfire set of vintage punk rock that opened the show, the duo of Dan Auerbach on guitar and vocals and Patrick Carney on drums emerged and showed their Denver faithful that they know just how to shove music down your throat . . . and make you like it.

As soon as they took the stage to thunderous cheers from the sweaty and packed house, it was clear that these boys meant business. Under strobes, swirling lights and the shadow of a giant inflatable tire representing their roots in Akron, OH reading "Heavy Sole," these two proceeded to wail through 75 minutes of blues soaked rock that rarely let up.

Auerbach and Carney pulled out all the stops and flung sweat from their hair as they raged through crowd pleasers "Set You Free," "Strange Times," and "Stack Shot Billy." After ironically notifying the crowd that they had been "training at high altitude" for the gig, they slowed things up for the balladry of "You're The One" and caught their breath enough to dive headlong into the rest of the show.

After Attack & Release gem "I Got Mine," the duo took a brief break as nearly every member of the audience pumped their fist and begged for more. When they returned, Auerbach took a seat at the organ that he had neglected all night and quickly proved it deserved its place on the stage as he alternately conjured what seemed to be guitar riffs from the keys and stood with his head back and eyes closed, coaxing from the instrument the deepest tones it would allow. It seemed a fitting closure to a raucous show until the guitar slinger strapped on the six-string again and the pair blew through "Till I Get My Way," to send the crowd off into the uncharacteristically wet and rainy Denver night.

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

Overall: A-

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Tuesday, April 08, 2008

REVIEW: Back Door Slam - April 3rd - The Soiled Dove Underground, Denver, CO

The Scene: The Soiled Dove Underground is a like walking into an upscale New York City jazz club in the heart of Lowry here in Denver. That's right . . . in Lowry. The tiered seating, waitress notification lights and illuminated table numbers are a nice touch but make a slightly sterile room to hear gut wrenching blues in.

The crowd was a varied group of blues fans, from the tied-dyed and dredded hippies, to the button down office dads, every walk of life was represented in the intimate space. The space is layed out in such a way that those who want to sit in their assigned seats can do so with a clear and unobstructed view of the stage, while those who want to move up front and dance their asses off can do that too.

Overall the venue is perfect for the neighborhood, a kid friendly bedroom community of largely 30 and 40 somethings.

Back Door Slam: Wow. That's basically all I can say. This was one impressive young band. They hail from the Isle of Man in the UK and their music is right up there with the best of the 60's and 70's blues bands like John Mayall's Bluebreakers or even Cream. Maybe these boys were born in the wrong decade.

Only in his early 20's, frontman Davey Knowles absolutely rips on his electric guitar and conjuers up images of Clapton and Hendrix as the blues course through his body and into his able fingers. Throughout the set the band played numerous originals culled from their recent release Roll Away and highlighted the set with just the right number of covers including John Hiatt's "Riding with the King," David Crosby's "Almost Cut My Hair," and Robert Cray's "Back Door Slam" from which the band took their name. I each case these youngsters stayed true to the original but seemed to push the intensity up a level.

While Knowles is undeniablely an unbelieveable guitarist and one of the best I have ever seen in person, his strong heartfelt vocals cannot be overlooked. This kid is capable of reaching deep into his soul and summoning the voice of a middle aged black man from the deep south. It is a stirring sight to watch. That, coupled with his viruosic ability on the guitar and his comfortable stage banter, makes him a force to be reckoned with that we will be hearing from for year.

The only shortcoming of the this band is the complete lack of stage presence and interest exhibited by the Drummer (Ross Doyle) and Bassist (Adam Jones). While very able musicians, both seem to be totally bored with what they are doing and it that brings the intensity of the show down a little bit. It would have been a much stronger show if the rhythm section made any kind of effort at all to engage the crowd thought eye contact, body language or both. I think Knowles will need to give his bandmates a lesson in charisma or move on. He has too much talent to be brought down by the rest of the band.

Back Door Slam restored my faith in a brand of music that I had largely left for dead. There simply aren't enough young bands that sound like this. With their blend of Allman Brothersesque rock and Clapton influenced old school blues, they are poised to win over a huge following of all ages.

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

Overall: A-

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REVIEW: Vampire Weekend - April 1st - The Bluebird Theater, Denver, CO

The Scene: I knew what I was getting myself into when I took off to head to the Vampire Weekend show at the Bluebird on April Fools Day. The show had been sold out for months and the buzz that has been surrounding this band has been practically deafening since the beginning of the year.

To my surprise the room was not wall to wall people and in fact I was able to walk down to within about 15 feet of the stage without much of a problem and without ruffling anyone's feathers. Kinda nice since I walked in right when the band was coming on stage.

The faces singing and bopping along to the music were not the usual Denver Indie-Rock crowd. It was a diverse crowd made up of curious NPR listeners, preppy transplants who wanted a dose of New England and, of course, the kids who are completely gaga for this relatively mediocre group of NYC prepsters.

Vampire Weekend: First, I've got to say that it is almost impossible to live up to the hype that has been swirling around the this band for the last 8 months or more. They had a review in the New York Times before they even had an album out for heaven's sake!!!

At first glance, the bands lead singer and guitarist Ezra Koenig fit the image I had in my head about this group of New York City kids who had all met at Columbia and sing about Cape Cod. He was wearing a navy cardigan with birds on it, jeans and a pair of topsiders . . . really . . . topsiders?

Anyway, about the music, overall it was only fine. It is catchy as hell and, yes, the african influences (see Paul Simon's Graceland) are all over the place. While the guitar lines and rhythms are interesting at first listen on the album I don't think they are going to stand the test of time. However, since they had a sold-out room dancing and singing along to every song on a Tuesday night in Denver, I don't think that Koenig and his band are too worried about standing the test of time at this point.

Including blog favorites "I Stand Corrected," "Campus," and "The Kids Don't Stand a Chance," the set was obviously littered with material from Vampire Weekend, the band's debut album. I was pleasantly suprised when they broke out a new song and, while still drawing on the same jangly influences, it seemed to be a little bit more interesting at first listen. I will be interested to see what happens when their sophomore release drops after the hectic touring winds down later this year.

Koenig's slightly nervous banter between served it's purpose in prolonging the set and it also allowed people time to run to the bar or hit the bathroom as he mused about April Fools Day and made countless innane references to a sign he saw on the way into town referring to Denver as Denco. I will give him credit however, that he thanked the crowd on numerous occasions and even made reference to The Hi-Dive by name when he mentioned the sparse attendence at their first appearance in Denver last year.

The sharp contrast in attendance at this gig allowed him to orchestrate a massive sing-along to the sharp and upbeat "One (Blake's Got a New Face)." Nearly every voice in the theater joined in to replace the backup singers that appear on the album and I've got to admit that I was impressed by the volume coming from the fans.

After a short encore break the band returned to close out their brief set to the delight of the crowd with the surpremely catchy "Walcott." Though it was an entertaining evening of borderline bublegum pop, with a set that clocked it in at merely 50 minutes it must have been a bitter pill to swallow for the folks that coughed up the $40 or $50 that these tickets were commanding on Craigslist.

Next time I am going to have to remind myself that a meteoric rise to prominence isn't necessarily a good thing when it comes to pop music . . . at least in my mind.

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

Overall: B-

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Monday, March 31, 2008

REVIEW: These United States - March 29th - The Hi-Dive, Denver, CO

The Scene: It was much more of a scene at The Hi-Dive on Saturday night than I thought it would be. There were lots of local industry people there from W.A.R., their sister company United Interests, Madison House and of course The Marquee. There was also a diverse mix of regular folks out to see good music on a Saturday night. The closing band of the evening, Girl Named Kyle, drew in a healthy number of younger kids due largely to their own youth but there were also several grey hairs in attendance and even a couple of bikerish looking fellas.

It was great to see such a good crowd (around 250 strong) for a show by a relatively unknown band. These United States debut album was released about a month ago and clearly word is spreading fast. My hats off to the Hi-Dive for doing so much to help the music scene in Denver over the past couple of years.

These United States: First off, I've got to be upfront about something, These United States live show differs substantially from their debut album in that in a live setting the band has a decidedly Americana influence. That might put some people off, but I think it is a great thing. I love the album (Picture of the Three of Us At The Gate to the Garden of Eden) with it's electronic elements and extremely tight production, but it is nice to see that the band can take the same songs and reinvent them so effectively.

The show started off with Jesse Elliot singing "Preface," the lead track from the album. A brief tune, it served to let the crowd finish their drinks and conversations and drift into the stage side of the room where alcohol was not allowed.

For the first part of the evening Elliot was backed by Tom Hnatow on guitar, bass and pedal steel and Robbie Catholic on drums and vocals. As a trio, the band ran through several songs including a few that are not available on their debut record. (One of these, and a personal favorite of mine, "Already Got a Girl Who Calls Me That" is available as a free download from Daytrotter.com)

As the set moved on it was clear that this is a band with a deep respect for Americana and roots music and owes a significant debt to The Band and others who came before them. The ring of Hnatow's pedal steel coupled with Elliot's warm, heartfelt vocals and Catholic's rollicking backbeat could transport your mind back to the 70's while Elliot's sharp, intelligent lyrics incorporate a fresh and interesting perspective on religion, the corporate rat race and, of course, love.

For the second half of the show Elliot invited local talent, and the night's closing band, Girl Named Kyle out to join them on the stage. With the small stage now cramped with 8 bodies and many more instruments, Girl Named These United States proceed to crank up the energy on stage and in the crowd.

At one point Elliot missed his cue to come in on a song because he was so thrilled by the music the band was making. He laughed it off saying "I've never heard it sound like this before." It was a great moment for all those who love spontaneity in music and in their lives. Throughout the collaboration the looks on the faces of everyone on stage couldn't hide the obscene amount of fun they were having.

The show closer, "Burn This Bridge," featured Elliot leading the entire crowd in a sing-a-long of the chorus "We'll burn this bridge when we're over it." Between the raw rootsy folk feel of the music and the chorus of slightly off-key voices filling the small room it was a great communal feeling to end the evening on.

Rumor has it These United States will be in town before too long. Do yourself a favor and don't miss it. I know I won't.

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

Overall: A-

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REVIEW: Ra Ra Riot - March 28th - The Larimer Lounge, Denver, CO

The Scene: There was a good crowd at The Larimer on Friday night. It was by no means sold out but probably about 1/2 to 2/3rds of the way there. The slightly Euro-looking crowd was slightly older than I had been expecting, but then again, I guess it is usually the older, industry linked, folks who get amped up for bands the kids haven't even heard of yet.

There seemed to a good split between people who came to hear Ra Ra Riot vs people who were clearly there to see the headliner, The Cribs. As I was there for Ra Ra Riot and didn't really care for The Cribs this review is going to focus on Ra Ra Riot.

Ra Ra Riot: I had been excited for this show since this band left the stage at Monolith way back in September and it was good to see that they got a slot at the Monolith pre-party at The Larimer this past Friday. However, I have to say that the show was slightly disappointing. I don't know if they were not quite as "on" as they were at Monolith, or if the muddy sound was the problem, but something was missing.

Frontman Wes Miles danced and jerked all over the stage as his untrained tenor voice carried the poppy songs that saturate the bands debut EP. At moments it looked like the guitarist and bassist might render each other unconscious with the headstocks of their instruments as they swung them about the crowded stage. The band broke out fan favorite, "Each Year," early on and ran through much of the EP during their brief 40 minute set. I believe Miles introduced a couple of new songs but as the mix seemed a bit off, it was difficult to get a feel for them Friday night.

Ra Ra Riot closed their set with "Dying Is Fine," a radio friendly track that is a standout on the EP. It seemed that maybe the sound man had finally worked out the kinks as the sound was the best for this final song of set. People in the crowd were singing along and it was good to see the band go out on a high note before yeilding the stage to the UK band The Cribs.

A young band, who are out on one of their first national tours, this band still has some kinks to work out, but they certainly have the energy and the sound to pick up on some of the fan base that hung on every note as The Arcade Fire rose from their days of playing The Larimer Lounge to headlining Red Rocks.

They mentioned that they would be back in town on June 14th (Venue TBA) and also that they were playing the Black Sheep in The Springs on May 9th. I will definitely give these guys another chance as they were one of my favorite bands from Monolith and everyone has an off night.

Energy: A
Sound: C-
Musicianship: B
Stage Presence: B
Set/Light Show: N/A

Overall: B-

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Friday, February 29, 2008

REVIEW: Billy Joel - February 28th - The Pepsi Center, Denver, CO

The Scene: As you might expect the scene at Billy Joel's concert at the Pepsi Center was relatively mellow. The crowd was a healthy mix of those who grew up with Joel and his music and those of us who discovered him when he was touring the world and selling millions of records. To be honest the crowd was younger than I thought it would be and though there was very little standing or dancing, there was a good energy in the venue as the show moved on.

Just a note on the Pepsi Center, I had long ago written off concerts in hockey arenas due to the poor sound but sometimes you just gotta go cause you aren't going to get a chance to see an artist anywhere else. (Roger Waters comes to mind as another example.) If you do find yourself getting tickets to a show at the Pepsi Center be sure that you are opposite the stage if at all possible. Quite simply the sound is MUCH better than anywhere else in the arena. It doesn't bounce around and get lost in a sea of reverb as it is focused on the soundboard. At Billy Joel we were above and behind the soundboard and the sound was much better than I expected. I was plesantly surprised. It almost makes a concert in an arena an option again . . . almost.

Billy Joel: The arena went dark and a cheer rose up as silhouetted figures moved about the stage, all of a sudden an array of brilliant lights focused on a piano at the center of the stage and the man who was pounding out the intro to "Angry Young Man." Though Joel's curly locks are long gone and the creases on his face show his years, his fingers still move just as fast and throughout the show I was consistently amazed at the talent that he exhibited on the keyboard. The irony of a 58 year old man singing a song about teen angst was not lost on me as Joel sang "there's always a place for the angry young man, with his fist in the air and his head in the sand," and "he's fair and he's true and he's boring as hell, and he'll go to the grave as an angry old man," with all the passion of the album version all those years ago.

Just before he played "The Entertainer" Joel turned to the crowd an welcomed us in to his world. His relaxed, casual demenor and the way in which he interacted with the audience managed to make the cavernous room feel just a little bit intimate. His attempts at humor were well received especially when he said "I'm Billy's Dad. Billy couldn't make it tonight, he's at home doing his hair. Billy's not this old. Hell, even Elton John's got hair. It's someone else's but he got it," as he rubbed his head.

Joel then opened his back catalogue and offered up three choices of songs that "weren't hits when they were released," for the audience to pick from by applause. To my dismay the audience chose "Ballad of Billy The Kid" over "Summer Highland Falls," and "Vienna." Though a great piece of work, "Summer Highland Falls," is one of my personal favorites.

Keeping up his good natured banter with crowd every couple of songs Joel moved through hits like "Allentown" and the powerful and jazzy "New York State of Mind," before warning the audience that he might not make it through the next piece. To his credit, not only did he make through the intricate, and obviously difficult instrumental "Root Beer Rag," he nailed it and it was clear that he was enjoying performing in the thin mountain air that the band would musically allude to later on in the set.

His much loved "Movin' Out," "Don't Ask Me Why," "Captain Jack," and "She's Always A Woman," followed the instrumental and throughout each song it was clear that nearly everyone in the arena knew all the words to each one of these classics. Joel then brought things more current (relatively speaking) with "River of Dreams" and "We Didn't Start The Fire," released in 1989 and 1993 respectively. However, it was a song sandwhiched between these two that was the surprise of the evening. Joel brought out Chainsaw, a burly, tatooed a member of his crew, who "wanted to try out for American Idol, but just didn't have the right look," for an explosive take on AC/DC's "Highway To Hell."

The set ended with upbeat rockers "It's Still Rock & Roll To Me," and "You May Be Right," and with a wave and a smile the band was gone . . . but only for a moment. After all, The Piano Man can't get us all in the mood for a melody and then call it a night. The full band returned to the stage for "Scenes From An Italian Restaurant," and "Only The Good Die Young," which got some people up out of their chairs and dancing even in the upper deck.

As the band left the stage for the last time, Joel teased the crowd by walking away from the piano and feigning heading off stage. He'd then take a step toward the piano - HUGE CHEERS - and then a step away - BOOS - toward - CHEERS - away - BOOS and so on till he finally took a seat and began to play one of the most beloved songs in the american songbook, "Piano Man." People stood and swayed and filled the arena with their voices.

All in all it was a pretty good crowd for a Thursday (and $100 tickets on the lower level) and we forgot about life for a while. After all these years of ups and downs, semi retirements and classical music albums, it is good to see that Billy Joel hasn't lost it. He still captivates audiences and he has found a way to adapt his music to his slightly tired voice so it doesn't sound so tired. He is a master showman, songwriter and musician and it was great to see him back on the stage singing the timeless songs that remind us all of younger days.

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

Overall: A-

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Wednesday, February 06, 2008

REVIEW: Yeasayer & MGMT - February 4th - The Hi-Dive, Denver, CO

The Scene: Despite the snow that was steadily falling all afternoon Yeasayer and MGMT sold-out the Hi-Dive on Monday night. It was a diverse crowd that ranged from hardcore facepainted fans to preppy 30 somethings in-the-know with a few industry types scattered about. It was a cleary a show fueled by "buzz," and while I am not sure it lived up the all the hype, I was plesantly surprised by the show that Yeasayer put on.

One thing I need to comment on is the several folks who were right up front taking hundreds of flash pictures throughout the Yeasayer set. Most venues have a no-flash policy for photography and if the Hi-Dive does, it is clear that it was not enforced on Monday. If it was bothering me, I can only imagine how much it was irritating the band. On another note, The Hi-Dive really has to continue to work on it's sound. The shows that they are booking are steadily improving but the sound quality in the room simply isn't up to par. The sound guys were working hard and doing everything they could but it's just a tough set up.

NOTE: I have decided to split this review up as if it was two different headliners as Yeasayer stole the show in my opinion. As a result there are two different set of grades for this review, the first applies to the Yeasayer portion of the evening and the second to the MGMT portion.

Yeasayer: I went in to the Hi-Dive knowing very little about Yeasayer and as soon as they broke into their first song I knew that I was going to dig what they were doing. It is relatively rare to find a young indie band these days that has four members who can sing well, and more importantly sing well together. Though the vocals were drenched in reverb for much of the set this added to the already psychedelic feel of their music. Heavily influenced by world music from Africa, The Middle East and even at times the Celtic tradition, the band pushes the traditional limits of pop music while still lacing their music with hooks. They aren't afraid to experiment with new sounds and ideas and many of these experiements are working very well. Simply put there are some great ideas coming out of these four men and the potential for what they could create is very exciting.

Each member of the band seems to contribute equally to the bands unique sound. Aaron Wilder's relatively simple guitar riffs formed the melodic core to most of the songs while Ira Wolf Tuton's fretless bass work was prominent in the mix. Both sidemen sang ably alongside lead vocalist and snyth knob twiddler Chris Keating to create densely layered, and at times almost chanted, vocals. On background vocals and a kit equipped with a programmed drum pad, drummer Luke Fasano laid down a beat that drove the music and kept the crowd moving throughout the set.

Though their studio album clearly relied on overdubs and other studio magic, they have managed to stage a live show that brings energy to the music that isn't found on the record. I overheard lots of positive chatter about the music as they quickly won over the capacity crowd. After churning through about a dozen songs they triumphantly wrapped up their 50 minute set to a room full of pumping fists and the biggest cheer of the evening. Though the crowd seemed to be begging for more, the band packed up and yeilded the stage to the headliner, MGMT for the more anticipated (and less entertaining) set of the evening.

Energy: B+
Sound: B-
Musicianship: B
Stage Presence: A-
Set/Light Show: N/A
Overall: B+

MGMT: Though their set was plagued by sound problems that weren't their fault for the first 20 or so minutes MGMT never seemed to really get off the ground. They seemed tired and, frankly, a bit bored as they ran through a bulk of their debut full legth Oracular Spectacular. Though the album cleary has a couple of tracks that could be destined for dramatic overplay on mainstream radio and college campuses across the country, it lacked a bit of the originality that I was hoping for after the Yeasayer set.

With 5 members up on stage, several of whom did not seem to be completely comfortable on their instruments, it was the drummer who stole the show. He ferociously and tirelessly pounded the drums throughout the set and provided something interesting to watch as his bandmates plodded through their parts.

Overall the music had a good beat and the vocals weren't bad but the stoic presence of the band on stage contrasted so greatly with the sound that was coming out of PA that it was almost confusing. Maybe it was an off night for them as they had struggled through a snow storm to drive in from Salt Lake City, or maybe it was the altitude toward the end of a long tour. Whatever it was, it didn't sit too well with me on this snowy night.

Energy: B
Sound: C+
Musicianship: B-
Stage Presence: C
Set/Light Show: N/A
Overall: C+

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Monday, November 12, 2007

REVIEW: Neil Young - November 5th - The Wells Fargo Theater, Denver, CO

The Scene: When I walked into the Denver Convention Center, home of the Wells Fargo Theater the prophetic words that Neil Young first sang in 1979 immediately came to mind. That mantra, as it has become to many, “it’s better to burn out, than to fade away,” has followed Young throughout his career but upon gazing on the absolutely characterless atrium out side the theater I began to wonder if this legend was fading away or more accurately, becoming someone very different from the man who wrote those words so many years ago.

I have been fortunate enough to see Young several times in my life at some great venues including Red Rocks Amphitheater in Colorado and The Saratoga Performing Arts Center in Upstate, New York. In each instance, before Young even took the stage, there was an electricity in the air that was completely missing at The Wells Fargo Theater. Several things contributed to this, the sterile atmosphere, the inescapable truth of the fact that it was a Monday night, the fact that absolutely no drinks at all were allowed into the theater and the militant way in which the heavy solid doors to the theater were guarded during the songs to prevent anyone from entering the hall until there was a break in the music. Suffice it to say that The Wells Fargo Theater and its incredibly strict policies sucked the rock show energy from the crowd before they even took their seats.

Neil Young: At the stroke of 8:30 Young walked out onto the stage to a standing ovation and I was able to catch a glimpse of him before an usher secured the doors, turned around and had the unenviable job of telling about 40 hardcore Neil Young fans who had shelled out between $80 and $150 dollars per seat that they had to wait in the lobby while Young opened the show with the Harvest Moon gem “From Hank to Hendrix.”

As the last muffled notes passed through the heavy doors we were finally allowed to enter the cavernous room. As my eyes adjusted to the darkness I saw that there in the center of a tremendous stage sat Neil Young flanked by a semi circle of acoustic instruments. Dressed in a slightly rumpled light colored suit he was returning one guitar to its stand and reaching for another as we latecomers struggled to find out seats.

As we got settled and the crowd quieted, Young began a foray into the 70’s, that lasted for nearly an hour, by delicately picking out the melancholy introduction to the 1974 classic “Ambulance Blues,” from his legendary On The Beach Album. The line “you're all just pissing in the wind” drew one of the most enthusiastic reactions of the entire evening from the attentive crowd. The diehards in the crowd were then treated to “Sad Movies,” the first of three unreleased songs from his prolific 70’s sessions that Young would play on the evening.

He then picked himself up out of his chair and purposefully walked over to a grand piano that occupied a spot on the right side of the stage. On top of the piano sat a synthesizer and Young utilized both in a rare and haunting performance of “A Man Needs a Maid,” from 1972’s Harvest.

As Young moved through the acoustic portion of the evening, he took occasional pulls on a beer bottle and ran through Harvest, Love Is A Rose, and several other, more obscure, selections.

The highlight of the hour-long set came about 40 minutes in when Young took the stool at the upright piano for a truly moving version of the sparse and tender “After The Goldrush.” He was in top voice and the passion that seeped through the performance proved yet again that this is a man who has no intention of fading away. He tipped his hat to the state of the world today, and got a huge reaction, when he adapted the line “look at Mother Nature on the run in 1970’s” to “look at Mother Nature on the run in the 21st century.”

Young then returned to center stage and surprised everyone when he aborted “Love Art Blues,” a few bars in, choosing instead to pluck out “Mellow My Mind,” on the banjo saying “I’ll get to that one a little later.” A little later proved to only be about 5 minutes when Young played the song uninterrupted as the next selection before the country blues of “Love Is a Rose,” picked up the mood a bit.

Young chose to close the set out with the massive crossover hit “Heart of Gold.” While it is a song that has truly stood the test of time and a great choice for a closer, the moment that made the most lasting impression on me was the way his high tenor seemed to transport me back in time as he sang of the archer splitting the tree during “After The Goldrush.” When the last notes of “Heart Of Gold” had faded away, Young stood up, waved to the crowd and headed into the wings of the stage to gather himself and his band for the electric portion of the evening.

After a brief break, Young took the stage with long time friends Ben Keith, Rick Rosas, and Ralph Molina, on guitar, bass and drums respectively. The old friends brought the crowd to their feet when they launched headlong into “The Loner.” The crowd remained standing as a painter who was working in the back replaced a canvas on the right edge of the stage that had the words “Everybody Knows This Is Nowhere” paired with a abstract scene. The painter worked as the band played, and replaced the canvases on the easel before each song as a way of introducing them without words.

In sharp contrast to the song selection of the acoustic set, the electric set introduced the audience to several songs from Young’s recent Chrome Dreams II. The band raged through “Dirty Old Man,” and “Spirit Road, early in the set before returning to the 70’s for a trio of songs that shared the central theme of abandonment and loneliness; “Bad Fog of Loneliness,” “Winterlong, and “Oh, Lonesome Me.”

The band closed out the set with two more songs from Chrome Dreams II. “The Believer” and the 15 minutes of trademark ragged glory that is “No Hidden Path” again brought the audience to their feet as Young stomped around the stage coaxing beautiful, distortion saturated screams from his electric guitar, proudly displaying the type of playing that earned him the moniker “Godfather of Grunge.”

When Young and his band mates returned to the stage for the encore they dipped back into the hits and brought a nostalgic smile to the face of many as they wailed on “Cinnamon Girl” and a monstrous rendition of “Like a Hurricane” that closed out the show and proved once and for all that, despite the choice of venue for Denver’s tour stops, Neil Young isn’t about to fade away and he sure doesn’t appear to be burning out just yet.

SETLIST
Set 1 (Acoustic):
From Hank to Hendrix, Ambulance Blues, Sad Movies, A Man Needs a Maid, No One Seems To Know, Harvest, After The Gold Rush, Mellow My Mind, Love Art Blues, Love is a Rose, Heart of Gold

Set 2 (Electric)
The Loner, Everybody Knows This Is Nowhere, Dirty Old Man, Spirit Road, Bad Fog Of Loneliness, Winterlong, Oh, Lonesome Me, The Believer, No Hidden Path

Encore (Electric):
Cinnamon Girl, Like A Hurricane

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

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Monday, October 01, 2007

REVIEW: Monolith Festival - September 14th & 15th - Red Rocks Amphitheatre, Morrison, CO

Like a foal sired by a great stallion, The Monolith Festival at Red Rocks staggered a bit as it struggled to stand on its own legs in its inaugural year. There were a few relatively minor hiccups as the first ever multi-stage festival at the epic venue failed to draw the anticipated crowds despite a fantastic line-up of both established and up and coming acts. However, by most accounts, those who did make it to Morrison, CO for the two day event were thrilled with their experience.

As I walked into the top of the Amphitheater on Friday afternoon I was a little surprised to see the crowd confined to the first 20 rows or so. As Ghostland Observatory’s massive beats reverberated through the venue, I couldn’t help but feel that the band needed more that the sparse crowd just couldn’t give them. They are a band that thrives on energy and sadly on Friday at Red Rocks, the main stage just didn’t have much, especially this early in the afternoon.

As Ghostland headed for the wings of the stage we set out in search of the seemingly elusive festival energy that I knew had to exist. After catching a bit of Denver’s own Cat-A-Tac on the intimate WOXY.com Stage, we knew we had figured out where it was hiding. The huge stage, crammed into a small room in the bowels of the Red Rocks Visitor’s Center, made for a very intimate club-like performance space.

Ra Ra Riot followed Cat-A-Tac and proceeded to wow crowd that had packed in front of the stage. With energy reminiscent of early Arcade Fire shows, these kids lurched and danced around the stage for the duration of their 40 minute set. Lead singer, Wesley Miles, poured himself into his vocals barely holding still for a second of the performance. A string section made up of a Violin and a Cello dressed up many of the hooky rock tunes that are the staples of Ra Ra Riot’s limited catalogue.

In a brief conversation with animated bassist Mathieu Santos after the set, he revealed that the band had never ventured as far West as Colorado and they were thrilled to get to play at Red Rocks on their first visit. There is no doubt that despite the tragic death of drummer John Pike earlier this year, Ra Ra Riot is making a play for the big time with the energy and charisma to get there. An opening slot on Editors current tour on both sides of the pond will surely give them some of the exposure that they badly deserve.

Emerging from the underground club land Monolith had created in the Visitor’s Center we found ourselves directly in front of the New Belgium Stage. At the top of the Amphitheatre, in the shadow of Ship Rock, the stage played host to some of the most talked about performances of the weekend. As we approached, Ra Ra Riot’s tour mates Editors were taking the stage to show the Colorado crowd what their brand of Brit Pop is all about. With influences from Joy Division and Interpol saturating their music, front man Ed Lay bared his soul on stage and the band careened through hits like “Blood,” “Munich,” and “All Sparks,” from their first album The Back Room while introducing many in the crowd to songs from their new record An End Has It’s Start. Though their recorded material doesn’t thrill me, in the live setting Editors drive home every note of their dark pop songs and leave the audience begging for more.

Unfortunately, I made for the main stage about two thirds of the way through the set because Portland’s maritime songsmiths, The Decemberists, were about to take the stage. I was again shocked by the virtually empty amphitheater but chalked it up to a Friday night show at the end of the outdoor concert season. When Colin Meloy and company took the stage and opened with “Shiny” there seemed to be something missing almost immediately. This is the band that took control of The Fillmore here in Denver back in April and gave us a show to remember and yet they seemed to lack much of that luster on the big stage of Red Rocks. Maybe Meloy was disheartened by the empty seats, or maybe they just had an off night, but about half way through their set things started to really disintegrate. There were a couple of sound glitches that seemed to take more wind out of the bands sails and then came the only real glaring misstep of the weekend.

Black Rebel Motorcycle Club opened their set on The New Belgium Stage and who ever was running the sound clearly didn’t give a damn about who was on the main stage. A wall of sound blasted from the top of the Amphiteater as soon as BRMC took the stage and it was evident that Meloy heard it clear as day as he did a double take and seemed significantly flustered. After waiting for a couple of minutes to see if the sound men could get things figured out, I abandoned the Decemberists and bolted up the stairs to the New Belgium Stage to see the band that was blowing them off the stage.

BRMC was enveloped in a thick smoke and bright red lights pulsed through the cloud making for an ominous vision as heavy blues laden rock blared from the speakers. While I am not too familiar with their songs, I was impressed by the sheer power with which they came across. Don’t get me wrong, I love the Decemberists but this made me wish BRMC were on the main stage.

CAKE closed out the evening on the main stage in typical fashion for the day. The energy just wasn’t there. CAKE has truly impressed me live, and the funky pair of white rimmed shades John McRea was sporting made it look like he was up to the job, but it just wasn’t to be this time around. They put on a good set and treated the dwindling audience to “Sheep Go To Heaven,” “The Distance” and “Short Skirt Long Jacket” before closing out the first day of the first ever Monolith.

As we headed for the parking lot one thing kept crossing my mind, “it can only get better from here.” Fortunately I was right. When we rolled in on Saturday afternoon, the benches were more crowded and there was considerably more energy than there had been the previous day.

Margot and the Nuclear So and So’s were serenading the crowd with their 9 person blend of indie folk and rock as we got settled. Though they didn’t pack quite the same punch as they have when I’ve had the pleasure of seeing them in small clubs it was great to see them get the opportunity to play the main stage at Red Rocks. While the repetitive meowing that dominates “Paper Kitten Nightmare” might frighten off some would be fans, this is a band that is doing something original and fighting their way up through the ranks slowly.

As the sun was ducking behind the Front Range and Red Rocks was cooling down, we headed back to the WOXY.com Stage to catch a solo performance by Ian Ball of Gomez fame. Though I didn’t really know what to expect, I was pleasantly surprised. He played a mix of originals and covers that touched on songs from his Gomez catalogue and new tunes that he will be releasing at the end of October on a solo album called Who Goes There. The highlight of the short set was a stripped down take on Supertramp’s “Take a Look At My Girlfriend,” which Ball said “reminds me of going on holiday with my parents when I was growing up.”

When we surfaced from the underground this time we were met by New Jersey Hip-Hop from the mighty Lords of the Underground on The New Belgium Stage. They praised Red Rocks and sent a special shout-out to the Denver Broncos in honor of the two players who died in the last year. The Lords then proceed to break out the jams as MCs Mr. Funke and DoItAll Dupré traded vocals and DJ Lord Jazz worked the turntables. They had the lilly white Colorado crowd bouncing up and down to 90’s anthem “Here Come The Lords,” and tracks off their recent release House of Lords including “I Love Hip Hop.”

For better or worse the rest of my day was spent at the main stage for the power house line-up of Art Brut, Spoon and The Flaming Lips. Art Brut has come a long way quickly and front man Eddie Argos is largely to credit. His charismatic persona fronting a powerful rock and roll band calls to mind Craig Finn of The Hold Steady. By the end of the set Art Brut had scored a “Direct Hit” on the crowd as they Argos sang about “Moving To L.A.” and having a “Good Weekend.” Art Brut is “top of the pops.” Or least they are according to Argos.

The rock attack continued with Spoon taking the stage next. Their sparse angular sound contrasted well with the beautiful setting and front man Britt Daniel even went so far as to say “I’m not really an outdoors person, but this is amazing,” before resuming a stellar set that included “The Way We Get By,” “I Turn My Camera On,” and “Don’t Make Me A Target.” Daniel seemed at home on the huge stage and that, coupled with the precision with which the four piece interacted, revealed the secret to their recent surge in popularity.

Finally, it was Saturday night and the band that everyone had been talking about all weekend was about to take the stage. Flaming Lips accessories like two huge nets filled with green balloons and a giant half circle light rig had been lying in wait all day and they were finally being rolled into place. The rig was set up behind a colorful array of equipment and instruments and the balloons were hauled up to the top of the amphitheater where they awaited Wayne Coyne’s grand entry in the famed bubble. Due to the steepness of the benches at Red Rocks, Coyne was only able to roll into row 1 or 2 in the bubble before heading back to the stage as the green balloons were bouncing through the crowd on their way to the stage themselves.

While The Flaming Lips set was what most people will remember about the first Monolith, Coyne did wax a tad preachy in his effort to get the crowd to understand the significance of their power to change our country. While an important message, his long winded commentaries between songs broke up the show left some fans wishing for more music and less rhetoric. Despite this, the Lips delivered a very solid performance that was highlighted by confetti cannons, rainbows, and a rousing sing-a-long of the War With The Mytics hit, “The Yeah Yeah Yeah Song.” As the festival drew to a close, Coyne and company brought tears to the eyes of some very passionate music fans with their classic “Do You Realize?”

What we all realized as the lights came up and we headed for the exits was that Monolith was a success. It may not have packed Red Rocks to the proverbial rafters, but it definitely delivered a fantastic line-up and some top notch performances. While it is a young festival with some kinks to be worked out, it has set the bar for next year and one can only hope that they can compete with the level of talent that was offered on the festivals five stages the first time around.

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Tuesday, September 11, 2007

REVIEW: Ben Gibbard - September 10th - The Fillmore Auditorium, Denver, CO

The Scene: This performance / interview was part of a new series produced by MGD and The Rock-N-Roll Hall of Fame called "The Craft." Tickets weren't available to purchase and had to be won through KBCO.com or over the air. The crowd was relatively small (200+) and seemed to be largely industry types and hipsters "in the know."

MGD did a good job of decking out The Fillmore with large video projection screens and lights and it really looked pretty good. The room was split in two with a large velvet curtain hanging from the ceiling just behind the soundboard and the front of the room was set up cabaret style with small tables and clusters of chairs. Overall a nice set up for an intimate evening at such a large hall.

MGD was also nice enough to give everyone 3 drinks over the course of the evening. Of course the choices were limited to MGD or MGD Light, but hey, who am I to complain about free beer.

Ben Gibbard: Gibbard was introduced by the host (Warren Zanes) at about 9:20 or so and came out to a standing ovation and launched right into the Postal Service tune "Brand New Colony." This set the tone unrealistically high for the evening. As soon as Gibbard played the last notes of the song he left the lone mic on the right side of the stage and took a seat center stage next to Zanes and the interview portion of the evening commenced.

I understand where Zanes was trying to go with his questions throughout the evening. He was trying to get inside Gibbard's mind and get him to reveal some of the "secrets" of his craft, however, he wasn't going about it in the right way. Many of Zanes questions focused on his own interpretations of the songs and were very leading. This style led Gibbard to almost take a defensive step back and say "no, that isn't what I was thinking there. It was more like . . . " It would have been much more effective had Zanes posed some open ended questions and allowed Gibbard to speak about the music in his own words. At one point Gibbard literally looked at the audience in shock after Zanes finished posing a long, rambling, in depth question that none of us had followed at all.

I do commend Zanes for getting up there and giving it his all, however, I found the bulk of the conversation to be relatively boring. I recognize that interviewing someone in a live setting isn't an easy thing to do but we are talking Miller Brewing Company and The Rock-N-Roll Hall of Fame here. I am sure they could have found someone trained in journalism and interviewing to host the series.

Gibbard did play a couple of more songs throughout 80 or so minute event. It was a treat to hear stripped down versions of Death Cab and Postal Services songs as he performed solo on just an acoustic guitar in a coffe house like setting, but I could have gone for much more music and much less conversation. In addition to the opener of "Brand New Colony," he also performed "You Remind Me Of Home," "Title and Registration," "Photobooth," and possibly another tune or two but I don't know as I headed home a little early.

NOTE: The usual ratings don't really apply to this event so I've altered them a bit.

Music Portion: B+
Sound: B-
Interview Questions: C-
Interview Responses: B
Set: A-

Overall: C+

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Tuesday, September 04, 2007

REVIEW: Wilco - September 1 & 2 - The Fillmore Auditorium, Denver, CO

The Scene: While Saturday was sold out by the time Wilco came on, Sunday was a much more mellow crowd. The hipster hippies were out in force this weekend, with all of the plaid and tight t-shirts that comes with that crowd. It was your typical Wilco crowd, primarily 25 - 35 and a good solid mix of girls and guys. There were a few grey hairs in attendance who were really digging the tunes from the tables along the right side of the floor and overall it was a very respectful crowd.

The Opener: Richard Swift. I had heard good things about Richard Swift before walking into the Fillmore on Saturday night. I however, was not impressed by the 2 songs I heard on Saturday and the 3 I heard on Sunday night. Swift's voice is reminiscent of Bob Dylan and if you've ever seen Dylan live in recent memory you will understand that this is not a good thing. I don't know if the sound was off or it was simply Swift's performance but it was difficult to see through the harshness of his vocals to the lyrics and melodies that made up his songs. While I did catch an occasional couplet that intrigued me there isn't much I can say about Swift's performance. It was telling that when he was invited up on stage Sunday night during Wilco's encore he didn't sing a note.

Wilco: The ads on KBCO all summer have touted Wilco as "The world's best live band," and while I took issue with that every time I heard it, I have to admit now that they weren't completely off-base. There were very few flaws with both performances this past weekend.

One of the few things I can point to is the repetition of 11 songs over the two nights. Why is it that band with a catalogue as extensive as Wilco's can't play two nights at the same venue without repeating more than a song or two? Afterall, they were selling two night tickets and were very aware that the audience was going to be very similar both nights. Let's do something to reward the fans who came out both nights.

That being said I do understand that Wilco is a VERY rehearsed band and that is the only way they can achieve the tightness that they have managed on recent tours. 36 different songs is a decent number to have in rotation and I was consistently blown away by how well they played together as a band.

The other thing that blew me away was their unique approach to lighting the stage. Rather than the typical approach of lighting everything from a hanging rig above the stage they brought several standing light stands with old style light cans mounted on them that shined through red film. They also employed the theater technique of using footlights to light the band from below with lights mounted at the front edge of the stage. It is the same technique that Martin Scorsese used to get the great lighting effets that are seen in the concert film, The Last Waltz. It was great to see a band finally using this time tested technique to enhance their performance.

Even with the lights and the exceptional tightness of the band, I think that the moment that summed up my Wilco experience took place during Sunday evening's first encore. Tweedy and company had just run through "California Stars" with Richard Swift and his band mate and then band broke into "Poor Places" from Yankee Hotel Foxtrot. As they neared the end of the song they elongated one of their trademark noise jams and deftly used just the right amount of disonnance to keep us all fixated on their every move until it seemed to segue right into the cryptically romantic "Reservations." After reviewing some setlists from the past several years it turns out to be a common song pairing and as many are probably aware "Reservations" follows "Poor Places" on the original album.

Regardless of whether it is common for the band to pair these songs it still resonated with me as exactly what Wilco is all about. A friend of mine said that they are part Rush and part Willie Nelson and I think there is a lot of truth to that. They are able to play country songs drenched in heartache and soul while still morphing into a true progressive rock-n-roll band almost at will.

This metamorphasis that they manage so effortlessly on stage isn't something that they capture as well on their captivating albums. As a studio band Wilco is at the forefront of the Alt-Country movement in the US right now, and as a live band they are setting the bar for touring acts all over the world. It is a true pleasure to watch and I am already looking foward to seeing them again.

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

Overall: A

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Thursday, August 16, 2007

REVIEW: String Cheese Incident - August 9, 10, 11, & 12 - Red Rocks Amphiteatre, Morrison, CO

Note: I am going to deviate from my usual style of review for this one. It was the final weekend of shows for The String Cheese Incident and I feel it is more appropriate to address the entire event in one entry.

Over the years String Cheese Incident has been about much more than just the music. The feelings of friendship and family that have swirled around the scene have been as much a part of the experience of being at an Incident as the music has been. The band has worked hard to cultivate this feeling and when the announcement was made last November that Billy Nershi would be leaving String Cheese the feeling that this could be the end of more than just the music was inescapable.

As SCI was born in the mountains of Colorado and flourished in Boulder, it was fitting that the final run of shows took place in the shadows of Creation Rock at Red Rocks Amphitheatre. There is a certain energy that Red Rocks holds and SCI has always been able to tap into that energy with amazing success. At moments this past weekend the Barefoot Boys sounded as good as they have in years. It was as if a fog that had descended into the collective consciousness of the band over the past couple of years had finally lifted.

From the first notes of “Birdland” on Thursday evening through the exclamation point that the final “Texas” put on the career of this band on Sunday, the significance of this run of shows was palpable yet not all consuming. There were, of course, moments of melancholy but overall the feelings of sheer joy and excitement that are synonymous with String Cheese dominated the weekend.

“We’re here to have as much fun as humanly possible,” said Michael Kang when he and the rest of the band took the stage on Thursday night. Red Rocks was only about two thirds full, but the locals and out of towners who had amended their travel plans to make it to the Thursday show were ready to dance. When the boys kicked off the festivities it was clear that they were playing well and the dancing began. The tempo of the show was a bit uneven and they slowed things way down for tracks like “Emma’s Dream” and “45th of November,” but they really drove home the covers. Kang showcased his electric mandolin prowess by nailing the solos in “Comfortably Numb” which opened the second set and the Allman Brothers “Jessica” which closed it out.

The only true disappointment of the evening came when the show wrapped and they hadn’t broken out a Jerry Garcia tune in honor of the 12th anniversary of his passing. They nodded to the late Grateful Dead guitarist by saying “here’s one that Jerry liked to sing,” before encoring with “The Way You Do The Things You Do,” but it just wasn’t the same as a Jerry tune. With songs like “Shakedown Street” and “Eyes of the World” in their arsenal, I was truly surprised that the boys didn’t do the old man proud with one of his real chestnuts.

While speculation abounded as to what special guests would flood the stage throughout the weekend the band decided to keep it mostly a family affair by inviting only Danny Sears and Chris Cuzme from the Pangea Horns out on Friday night and a special member of the extended SCI family on Sunday. Sears and Cuzme contributed Trumpet and Sax respectively and did an exceptional job cranking up the energy on “Howlin'' At The Moon,” “Black and White” and Stevie Wonder''s “I Wish” during Friday’s first set.

During set break, the crowd around us was abuzz with the rumor that David Byrne would be making an appearance. While the rumor turned out to be nothing more than a fantasy, SCI did give us the first of two Talking Heads covers for the weekend when they ran through “What A Day That Was” early in the set.

In one of the few melancholy moments of the weekend the band broke out the recently neglected “Bigger Isn’t Better.” The song, written way back in the early days of the band, now seems that it may have been a harbinger of things to come. While the song is about the growth of the bands beloved little mountain towns it has taken on new meaning for SCI fans these days. Nershi has sited the bands growth and popularity as one of the reasons for his departure as he longs to return to the simple days of making music with his friends and not having to support the army of crew and other employees that it takes to keep the SCI juggernaut rolling down the road.

“Just what it is that keeps me here is hard to say, the answer’s not real clear. I guess it casts a spell that’s hard to break. Like December’s ice on a mountain lake, I tried to get out but I don’t have the heart to leave all my friends and make a new start . . . ‘Cause bigger isn’t better and money isn’t happiness . . .”

After “Bigger Isn’t Better” the band picked things back up and the party was on again. “Mouna Bowa,” “Pretty Polly,” “Joyful Sound,” “Just Like Tom Thumb''s Blues” and finally a huge “Rollover” finished out the set with one of the strongest run of songs of the weekend.

Following a short break, the horn section was invited back up to the stage for the encore which allowed Travis to fly his freak flag high. The band kicked into a groove and he emerged from the shadows of stage left moonwalking into the spotlight dressed as Michael Jackson. Jason Hann had taken over on the drum kit and the crowd erupted when Travis’ falsetto rang out with “Lovely is the feelin'' now. Fever, temperatures risin'' now;” the first lines of “Don’t Stop ‘Till You Get Enough.” He tore it up at center stage for the duration of the song before heading back to join Hann as the band segued right into “Search” to close out a very solid evening of music.

While Thursday and Friday were very strong performances there was some sense on Saturday that the band was building up to something; that though they had reached a “10” they were going to turn it to the proverbial “11.” John Dwork of Peak Experience Productions had been spotted running around all weekend but it wasn’t until Saturday that his contributions started appearing.

As the band opened the show with “Little Hands,” kite like butterflies appeared in the air around the soundboard and began making their way through the tightly packed crowd. This was only the beginning of an evening of the kind of eye and ear candy that The Cheese hasn’t served up in quite some time.

The band really seemed to hit their stride about midway through the first set when Kyle Hollingsworth took control and led the band through the very funky “BAM!” sandwiched between a “Close Your Eyes” that allowed his raspy voice and magic fingers push the energy up a notch. The crowd was sensing something special and after the one-two punch of “Outside Inside” and “I Know You Rider” closed out the set. We collected ourselves and prepared for what we all knew would be a memorable experience.

The moment everyone was waiting for came early in the second set when crowd favorite “Rivertrance” finally reared its beautiful head. As the band dropped into the epic jam the stage lit up with the familiar green glow of lasers and a massive glow stick war ensued that didn’t let up for most of the set. As lasers danced on the massive Rock outcroppings that tower above the amphitheater the band was feeding off the frenzy of the crowd and they kept dishing out one huge crescendo after another.

The sea of grinning faces, that had swarmed The Rocks in anticipation of one more evening like this, bobbed and boogied for the duration of a set that featured glowing Jellyfish dancing on the stage, trapeze artists, hula hoopers, and stilt walkers courtesy of Peak Experience.

Even Mother Nature cooperated during this massive set by whipping up a huge lightning storm just southeast of Red Rocks. The bolts lit up the sky for nearly an hour but most prominently during “Hotel Window” when audible gasps could be heard from the crowd as the night sky was torn apart by giant bolts of electricity. If they had phoned in the request it couldn’t have been more perfectly timed. All the elements fit together like puzzle pieces to create a concert experience that is sure to live on in the memories of all that attended for years to come.

Though the energy in the crowd on Sunday night simply couldn’t match the intensity and pandemonium of Saturday’s second set, the boys still played their hearts out up on stage. Emerging a little bit earlier for a 30 minute acoustic bluegrass set to start the evening off they played some of the songs that had drawn them together all those years ago including “Panama Red,” “Hobo Song,” and “Stingray."

The second set of three Sunday evening featured the biggest surprise the boys had up their sleeves this weekend but they bobbed and bounced their way through nearly 45 minutes of music before revealing it. After listening to SCI pick their way through the blistering “Indian Creek” it was a special treat to see Keller Williams himself come hooping out of the shadows as the band played the intro to his “Best Feeling,” a song that has been a staple in the SCI rotation for years. Keller handled lead vocals and 12 string guitar duties and, to the delight of the crowd, the band segued from “Best Feeling” into another Williams’s original: “Fuel For the Road,” before sending him back to the wings of the stage.

There are Cheese fans out there who have been calling for Keller Williams to fill in for Nershi since the announcement was made that he’d be leaving the band. Williams has quite a history with SCI and Breathe may well one of the best String Cheese related studio albums out there. He grew up under the wing of these boys, opening countless shows in the 90’s, and today is an established member of the scene. In a way, they may have been passing torch on to Keller, but I’m sure that during set break it was more than just a fleeting thought in many minds that a Keller Williams Incident, with or without Nershi, would be a treat in the years to come.

“You ready for one more set of Cheese?” bellowed Keith Mosely at the start of the third set before Nershi led the band into the reflective “Restless Wind” which got the ho-down going full-steam ahead. Lyrics like “I look back on the past, time gone by so fast” and “I turn back towards my home but I don’t feel alone” sent ripples through the crowd and pulled some out of their euphoria to realize that this too must end, and sooner than they had hoped. The band didn’t falter at all during the set and seemed to be reveling in the music as they ran through relatively new tunes like Hollingsworth’s “Rain” and “Piece of Mine” and older tunes like Nershi’s “Drifting” and “Rhythm of the Road.” As Kang sang “All we need is a little love to get through this time,” at the beginning of the set closing “Shine,” the band again seemed to be nodding to the impending end that loomed so close.

After they waved and said goodnight I’m sure they could feel the love backstage as the crowd begged for more. When they finally emerged for an encore they handed Travis the reigns for a rare and beautiful cover of Pink Floyd''s “Fearless,” which segued into a the traditional Bluegrass number “Whiskey Before Breakfast.”

What followed was perhaps the most melancholy moment of the weekend and one that sent chills through the crowd as Kang stepped to the mic and said simply “I think all we can say is ‘Thank You’.” The reaction to these words was deafening and the band seemed to stand there soaking it up for an eternity before collecting themselves and launching into a spirited “Good Times Around the Bend.” I couldn’t think of a more perfect way for this band to end their tenure on the scene. “The Rollercoaster must roll to the bottom before it climbs to the top again,” stood out as a very hopeful thought for all the fans who thought they were witnessing the last moments of the last Incident.

As Nershi’s final riff of the song faded away and the band gathered at the front of the stage for a ceremonial bow, the reality of the moment began to set in for many, though no one headed for the exits. Hugs were shared and the cheering was overpowering as the audience showered their praise on this band who has given so much to their fans over the years. As they walked off the stage for what we all thought was the last time the decibel level only seemed to rise as the band was begged for “just one more.”

After several minutes, movement was detected backstage and The String Cheese Incident lived up to their reputation of delivering the unexpected by returning to the stage and launching into “Texas,” one of their most fun loving and beloved tunes.

“Texas” is a song that personifies this band in a way that few of the other songs in their repertoire do. Its humorous storytelling lyrics, bluegrass influence and monster psychedelic jam touch on the many facets of SCI. It has been quite a journey that these men have been on together and this song was a fitting end to this phase of their career.

Throughout this very special weekend it was great to see all that had attracted us to the band live on right through their last performances. New friends were made in lines, in the lots, and on the benches as we freely gave of our beer, and other necessities, danced all over each others tarps and took pictures with our costumed comrades in Cheese. The music raged nearly as intensely as it ever has and the smiles that flashed between band members gave us all hope that this wouldn’t be the last time The String Cheese Incident would bring our tight knit family together.

Energy: A+
Sound: A
Musicianship: A
Stage Presence: A+
Set/Light Show: A+

Overall: A+

Labels:

Thursday, August 09, 2007

REVIEW: Ryan Adams and The Cardinals - August 2nd - The Fox Theatre, Boulder, CO

The Scene: This show was part of the R&R convention of AAA Radio programers that is held in Boulder during the first week of August every year. The convention attendees have badges that get them into the show and then a limited number of tickets are sold to the general public. As a result the show was heavy with industry people who were there to hear the music and not to chat with friends. A very nice thing when the show in question is acoustic and emotionally charged.

Ryan Adams & The Cardinals: When Adams and his band took the stage the crowd welcomed them enthusiastically. The six of them took up their stools along the front of the stage and, after brief hellos to the crowd, launched right into "The Sun Also Sets" from his latest release Easy Tiger.

From the first notes it was clear that this band was well versed and extremely talented. Adams voice was in excellent form and floated effortlessly on top of the acoustic instruments. During the handful of songs when he picked up a guitar, Adams and Cardinals guitarist Neal Casal layed down beautiful fills that wound together intricately to added a depth and beauty to the music that isn't captured on the recorded version.

Adams stuck to the new disc for the second and third songs of the performance and delivered a passionate redition of "Goodnight Rose" followed up by the stellar "Oh My God, Whatever etc." He then strayed from Easy Tiger and ventured back to his trio of 2005 releases for "Dear John" from "Jacksonville City Nights, "Let it Ride" off of Cold Roses and "Blue Sky Blues" from the least well recieved of the three, 29. Later in the set the band ran through the title track of Cold Roses to the delight of the crowd.

Throughout the evening Adams was on point, and his band was right behind him every step of the way. It is a real treat to see a band of this quality in such an intimate venue. The highlight of the evening for most came when the first notes of "Two" rang out. This may be the single off of Easy Tiger and as off-putting as that may be to some, it is one of the best songs in his cataloge. The phrasing and music compliment each other wonderfully and the sheer beauty of this song is hard to miss.

Adams closed out his 50 minute set with "Goodnight Hollywood Boulevard" from his Gold album and left the crowd wanting more. It was a short but very sweet set from one of the most talented bands out there today. Now if I only had been able to attend the electric performance that the band put on Friday night at Red Rocks . . . but alas I can't make them all.


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

Overall: A-

Labels:

Thursday, August 02, 2007

REVIEW: Daft Punk - July 31st - Red Rocks, Morrison, CO

Note: All images and video contained in this review were shot by Tim Dwenger

The Scene: The crowd at this show was a pretty energetic group, largely under 40 and ready to party. There were a large contingent of young raver kids mixed evenly throughout the crowd dancing next to the 35 year old couple who had left the kids at home for a night out they would never forget, and next to the frat boys who got dragged to the show by friends.

By the time The Rapture finished their set there was an extreme party vibe in the air and everyone was in Saturday night form on a Tuesday. During the show if you looked around everyone was dancing, and I mean everyone. There wasn't a butt on a seat all night long and there were smiles everywhere. It was one of the best crowds I have been a part of in a long time.

Openers: Sebastian and Kavinsky & The Rapture. The party started nearly an hour before the show time listed on the ticket with a DJ set from the middle of the 20th row by electro phenoms Sebastian and Kavinsky with a little help from the new guy on the tour, Busy P. Old school jams from the likes of C&C Music Factory got the crowd on their feet and they didn’t sit down all night. As the sun dipped behind the mountains The Rapture took the stage and cranked the energy up just a little bit higher with their post-punk electro-rock.

Towards the end of their crowd pleasing set, Rapture frontman Matt Saber paid homage to the headliners by saying: "This is going to be the best show you've ever seen. Better than sex. Better than your birthday. Better than your wedding." Could it be true?

As soon as the last note faded away, the crew quickly cleared The Rapture’s gear from the stage and a flurry of activity began behind a giant black curtain as the final preparations were made for Daft Punk to bring the house down. In a successful attempt to distract the crowd from the technical happenings on the main stage, Sebastian, Kavinsky, and Busy P, returned to the DJ stage for a 45 minute set that fed on the energy of the ravenous crowd. As they spun records and twiddled knobs, the DJs gave the crowd a little taste of the thumping beats and climatic moments that were about to transport us all to another dimension.

As the moment of truth approach, SebastiAn dropped the needle on his remix of Rage Against the Machine’s “Killing In the Name Of” and the party really kicked into high gear.

Daft Punk: As "Killing In the Name Of" came to an end, the lights went down and the first sound that was audible over the deafening roar of the crowd was the five familiar tones from Close Encounters Of The Third Kind. Suddenly, the massive curtain dropped, sharp beams of light erupted from around a giant pyramid and a robotic voice spoke the words “Robot. Human. Robot. Human. Robot. Human” in perfect psych with a giant bank of LEDs that spelled out the words the voice was repeating in an increasingly faster rhythm. The speed of the words increased to a climax that morphed into the thunderous beginning of “Robot Rock.” The entire audience went bezerk when Guy-Manuel de Homem-Christo and Thomas Bangalter appeared atop the pyramid clad in their infamous robot suits.


This epic entrance was only the beginning of a night that saw the majesty of Red Rocks dwarfed by two French robot men and their massive display of sound and light. “Robot Rock” led into “Technologic” and as the 90 minute set raged the frenzied crowd churned and gyrated to “One More Time,” “Harder. Better. Faster. Stronger,” and many of the other tracks that have helped to make Daft Punk the iconic figures of electronic music that they are.

However, as impressive as the pulverizing beats were that throbbed from the stage all night, it was the visual element of the show that left each and every ticket holder simply awestruck. As the set progressed the duo unleashed visual effect after visual effect, each more impressive than the last, until people were literally clutching their skulls in sheer awe of what was going on below them.

At first the LED screen was the stunning spectacle, then it was the triangle shaped grid that flanked the Pyramid and then, just when you thought they had done it all, the pyramid lit up and eventually became a hi-res video screen. With the stunning synchronization of all these aural and visual elements the robots had effortlessly taken control of all our senses.

Someone, someday will come up with something that will top this sensory orgy that Daft Punk is touring across the globe right now, but until then these two men hold the concert industry in the palm of their hands. They are so far ahead of the curve that until the rest of their competition can pick their jaws up off the floor and go back to the drawing board, they will continue to set the bar with regard to the performance of electronic music. Let’s just hope it doesn’t take them another 10 years to come back to our side of The Pond.

For more photos click here.

For a further taste of what this experience was like,
play the video below.



Energy: A+
Sound: A+
Musicianship: A
Stage Presence: A+
Set/Light Show: A+

Overall: A+

Labels:

Monday, July 30, 2007

REVIEW: Page McConnell - July 16th - The Fox Theatre, Boulder, CO

The Scene: The crowd at the Fox filled in later than I expected as the opener, Natalie Walker, didn't really draw in a following for her short set. Once news of her departure from the stage spread across the hill, the room began to fill up with a typical crowd of former Phish Heads from Boulder, Denver and beyond, and a healthy dose of CU Boulder students who were staying on campus for the summer.

By the time McConnell took the stage with his band the room was all but packed and it erupted with cheering and applause for the former Phish keyboard player. The inevitable super fan was front and center and dancing his ass off arms in the air and hair flailing. It was distracting from where I was standing more than 25 feet from him, I can't imagine how the people immediately around him felt.

As I was leaving toward the end of the night I practically ran into Vince Herman of Leftover Salmon & Great American Taxi who was relaxing in the Lobby enjoying a beer and conversation. It is always nice to see local musicians supporting others as they tour through the area.

Opener: Natalie Walker. Walker has a beautiful voice but unfortunately each song that she sang sounded all but the same. Her ethereal folky sound was in the vein of Tori Amos or possibly Beth Orton but it didn't live up to the grandeur of either one. Perhaps it was because she was playing with a stripped down version of her band (only guitar and keys) or perhaps her music just didn't connect with me. Either way it did seem to be an odd choice to open for McConnell.

Page McConnell: McConnell and his band took the stage at nearly 10:30 to the delight of the packed house and launched right into the second track from his recent eponymous solo album, "Heavy Rotation." The crowd was immediately into it, singing along with McConnell's trademark sing-song style.

Over the course of the 2 hour set McConnell showcased every song from the recent album and served up a heaping plateful of well executed covers as well. He touched on 80's avant garde rock with early in the set when he broke into The Talking Heads "Memories Can't Wait" and then later in the set hit us with the 1-2-3 punch of a rocked out version of Bunny Wailer's "Walk The Proud Land," The Commodores instrumental funk gem "Machine Gun," and the Elvis Costello classic "Pump It Up." It was a great way to the rev up the crowd after a slower middle to the show.

Thoughout the night McConnell seemed to be thoroughly enjoying himself. It was the last night of a six week coast to coast tour and the band was in great form. They were trading solos around the stage all night and though McConnell was obviously the leader of the band it was clear he was careful to select a group of musicians that complemented his style very well.

The band closed out the main set with "Beauty of a Broken Heart," the opening track on the album and song that no doubt reflects on the feelings surrounding his recent divorce. It was a bittersweet ending to a strong set but it brought the crowd back to earth and reminded them that the man they were there to see has a tender and emotional side that is apparent on the new album.

Unfortunately I didn't stick around for the extended encore as it was already well past midnight and I had to make the drive back down to Denver, but from all reports the three songs were crowd pleasers and ended with a rousing version of The Rolling Stones "Monkey Man," to bid the crowd, and the tour, farewell.

Setlist: Heavy Rotation, Close to Home, Memories Can't Wait, Back in the Basement, Complex Wind, Runaway Bride, Final Flight, Everyone But Me, Maid Marian, Walk the Proud Land, Machine Gun, Pump it Up, Beauty of a Broken Heart

Encore: Crew Introductions, Strange Design*, Rules I Don't Know, Monkey Man

* Page Solo

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

Overall: A-

Labels:

Thursday, July 19, 2007

REVIEW: The Mammals - July 12th - Festival on The Green, Middlebury, VT

The Scene: Middlebury Vermont is a quaint little town about an hour south of Burlington and as luck would have it as I was passing through the town was putting on a series of free concerts on the town green. The concerts dubbed "Festival on The Green" were primarily focused on Folk and Bluegrass and the crowd reflected this. It was largely a seated "wine and cheese" kind of crowd of fleece and Teva wearing Vermonters with a few tourists looking on from the fringe.

Now I put "wine and cheese" in quotes because this festival was actually completely dry. I am not sure why to keep it dry with such a fantastic brewery in town (Otter Creek) but maybe it harkens back to the old days of the puritanic forefathers of our country. Or maybe it is the fact that the Green is squarely in the shadow of a beautiful New England white steepled church. Whatever the reason the lack of alcohol at the event did it's part in keeping the sedate crowd quiet for most of the evening.

The Mammals: The Mammals are a Folk-Rock band based in the Hudson Valley of New York state and it is no doubt that were raised on the early folk songs of Pete Seeger and Woody Guthrie who, also based in the Hudson Valley, used to roam the Northeast singing protest songs and ballads of all the pain and beauty that life has to offer. The Mammals music reflects this influence and they, like all good bands, have put their own spin on the genre and have added a bit more energy and flair to their brand of folk music.

As I walked into earshot of the stage I heard the familiar opening notes of one of my favorite folk songs, 1952 Vincent Black Lightning. Mammal Mike Merenda sang lead on this one and the band did the song justice, pairing the powerful and bitersweet lyrics with a sparse arrangement that floated through the light summer air. It was all the introduction I needed to know that I had to stick around for a bit to see what this band was all about.

As the set wore on, we were treated to more songs from Merenda as well as a few from Fiddle and Ukelele player Ruth Ungar. But is was the songs in English and Spanish from multi-instrumentalist Tao Rodríguez-Seeger that were the most fascinating. As the Grandson of Pete Seeger he was surely steeped in the folk music tradition from a very young age. Rodríguez-Seeger was also perhaps the most interesting of the band personalities as he related tales of being raised in Nicaragua and learning Cuban ballads from the street musicians of Havana. As the set was drawing to a close he played one of the most recognized songs in Cuban music, "Chan-Chan," that The Mammals recorded on their 2004 release Rock That Babe and that appears as the first track on Seminal, Ry Cooder produced, Buena Vista Social Club.

Though there was a loyal contingent of dancers to the left of the stage all night, by the time The Mammals said "good night" much of the crowd was on their feet as the band closed with two raucus and danceable numbers. With much applause and cheering the audience was able to entice the group out for one last tune before the band members retired for the evening.

In many ways The Mammals reminded me of the Virginian Folk band Eddie From Ohio and, while The Mammals draw influences from a more Appalachian source than EFO, they engage the crowd with a similar energy and passion for their work. The result is a very satisfying performance for those who like their Folk music raw and earthy.

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

Overall: B

Labels:

Wednesday, July 18, 2007

REVIEW: Femi Kuti & Positive Force - July 10th - Higher Ground Ballroom, Burlington, VT

*Listen Up Denver! was on the road last week and caught a couple of shows in Vermont.

The Scene: The Higher Ground is a converted movie theater just outside of Burlington and it is a really nice venue. Whoever laid this place out did it right. With two large bars there was no problem getting service and there were several tables and bar stools that provided plenty of seating for those looking to rest their feet.

The crowd was an diverse mix of old and young from all walks of life. The Afrobeat rythyms of Femi Kuti & Positive Force clearly appeal to a wide range of music fans. More than anything it was nice to get to a show outside of Colorado and see the inside of a new venue and some new faces in the crowd.

Opener: Japhy Ryder. This band put on a stellar opening set. We caught about 30 minutes of their show but they could have gone on all night for all I cared.

This quartet seemed to be from the same Jam/Jazz school as bands like The Slip and Soulive. As with most good bands of this nature a solid rythym section is critical and Japhy Ryder delivered with the stellar bass & drums combination of Patrick Ormiston and Jason Thime respectively. The band is fronted by fantastic Trumpeter Will Andrews and the only place where the band seems to lack a bit is in the guitar department. Jeremy Kizina is clearly talented but seemed to be playing catch up all night with his band mates as if he wasn't quite up to their level. His solos were a bit flat and while every other member of the band moved me at some point during their set the guitar faded into the background most of the time.

Japhy Ryder had the crowd moving and it seemed that many in the crowd were familiar with their music and had in fact maybe come out to see them rather than the headliner. While their shows seem to be largely confied to the East Coast at this point, I did hit the merch table to bring a little piece of their sound home with me and the album does not dissapoint.

Femi Kuti & Positive Force: Femi Kuti (son of the legendary Afrobeat innovator Fela Kuti) and his Positive Force brought their good word to the stage with the force they are named for. 14 members strong, they crammed the ample stage at the Higher Ground with all manner of instruments. A 5 piece horn section (supplement by Kuti himself), keyboards, guitar, bass and two drum sets provided lush undulating rythyms that were harnessed by 3 sensuous female dancers who gyrated tirelessly all night long.

The band took the stage in show band fashion with the rythym section and guitarist and keyboard player taking the stage first and laying down a groove that welcomed the horns to the stage. Once the horns were in their place the dancers joined the fray and once the band got into full swing the man of the hour, Femi Kuti, took the stage front and center and they launched right into their first vocal number.

The sheer number of performers on the stage ratcheted the energy in the room up a notch as they filled our ears with upbeat music that wouldn't stop for the next two hours. Rarely stopping to catch his breath Kuti masterfully conducted the band and led them from song to song pausing only occasionally to thank the appreciative crowd who danced as tirelessly as the band played.

While the music was definately upbeat, fun and very well played I have to confess that as the evening wore on I began to notice that very few songs really broke the mold. There didn't seem to be any slow ballads or really charging numbers. The majority of the songs followed a similar rythmic pattern that was accented with great horn fills and Kuti's positive lyrics. I am not complaining as I thoroughly enjoyed the show, however, I do think that it should be noted that this was not a show that was full of changes in pace or style.

Kuti and his band were full of energy all evening and the half capacity crowd at The Higher Ground was treated to a night of Afrobeat that was effortlessly married to the more familiar American traditions of Jazz and Funk.

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

Overall: B

NOTE: You can catch Femi Kuti & Positive Force at The Boulder Theater on Tuesday July 31st.

Labels:

Friday, May 25, 2007

REVIEW: The Hold Steady - May 22nd - The Ogden Theatre, Denver, CO

The Scene: We got to The Ogden REALLY early as I wanted to be sure I could see the stage for this one and we ended up right at the front of the balcony (best spot in The Ogden IMHO) which I was thrilled about but we had to wait a while for The Swayback to come on. As the crowd filtered in, there were people from just about every walk of life. There was an older couple next to us enjoying their beers and chatting, teenagers camped out right in front of the stage, hipsters and preps, meatheads and sorority girls. It was a great crowd and by the time The Hold Steady came on the venue was about 3/4 full . . . perfect for the Ogden, any more and people can't see upstairs and it gets to crushed downstairs.

Opener: The Swayback. Solid local Denver power trio with a Sabbathy feel. It was too bad there weren't more people in the venue for their set. I would definately check them out at a smaller venue in town as they have the 70's rock thing down pretty well. I do think that they could be a little tighter as a band but that will come with time I am sure. Unfortunately the guy running the light board for their set obviously didn't give a damn about what he3 was doing as for much of the set Lead Singer and Bassist Eric Halborg was virtually in the dark.

Opener: The Heartless Bastards. To be honest I didn't dig these guys as much as I thought I would. They are a three piece from Cincinatti and they played a interesting blend of indie rock tinged with Alt-Country. Lead singer Erika Wennerstrom's voice seemed to get lost in the mix as she hollered her way through the bands 35 minute set.

The standout member of band was drummer Kevin Vaughn who sat hunched over the drums vaguely resembling a gorilla as his sticks deftly floated around the kit in perfect time.

The Hold Steady: In the words of Craig Finn "I think it goes without saying to say" that anyone who has seen The Hold Steady for the first time recently wished they saw The Hold Steady years ago in a much smaller venue. They are a bar band that sweats when they rock and doesn't hold back. It was no coincidence I am sure that when they came on shortly after 10 the house sound system was blaring Boston’s “Rock-n-Roll Band.” While these guys are from Brooklyn (via Minneapolis) and not from Boston, they are on the road trying to make ends meet and judging by their performance in Denver, I am sure they are doing just fine.

As if to say, “if you came to hear this, you can go home now,” Craig Finn and company opened up with “Stuck Between Stations.” The track, the first on their dazzling third album Boys and Girls in America, is probably the biggest hit of their relatively short career. Tad Kubler’s E Street strum was bolstered by the raucous rhythm section and Franz Nicolay’s barroom piano. The party was in full swing by the time Finn got to the first line of the song and he didn’t let it slow down all night.

In his own unique voice Finn sang about betting on the pony’s, high school dances, acid trips and religion while introducing us to some of the most well developed characters in modern rock music. After a short time with The Hold Steady we all felt like we knew Charlemagne, the strung out addict, and Holly, the hoodrat who found religion. Finn has a way of telling a story that really worms its way into your soul. Lyrics like “if they ask about Charlemagne be polite and say something vague,” or “Holly was a sexy mess. She looked strung out but experienced,” usher you into the world of Penetration Park, The Party Pit, Ybor City and Hostile Massachusetts. It isn’t a world that many of us would venture into on our own but hand in hand with The Hold Steady it’s a hell of a ride.

Between songs Finn’s banter was upbeat. Before the band ripped into “Chicago Seemed Tired Last Night” he asked us how many people were from the Twin Cities. When the loyal contingent screamed and waved he thanked them for being the ones that moved to Denver and not Chicago. He also shared a personal pet peeve of his when he introduced “Most People Are DJs” by saying “I don’t know if you all have this problem in your town, but back in New York there are DJs everywhere. They are in the Laundromats, the coffee shops, the bookstores and the clothing stores. I wrote this song about everyone who thinks they’re a DJ.”

All in all, the band careened their way through 13 songs in nearly 70 minutes before heading off the stage. The crowd wouldn’t let up and it wasn’t long before Finn was back at the mic thanking us profusely for our enthusiasm. For the first time all night the pace slowed as the acoustic guitars came out and Finn slid into his ode to booze, Citrus. The opening line “hey citrus hey liquor, I love it when when you touch each other,” spoke to the crowd who held their drinks high in approval.

To round out the evening, Finn led his band through an extended version of “Killer Parties” that featured some guitar acrobatics from Kubler while Finn himself lurched around the stage vaguely in time to the music. Are they the second coming of The E Street Band? No. While there is no doubt draw inspiration from Van Zandt and the rest of Springsteen’s crew, they are The Hold Steady and they seemed thrilled about it. They truly seem to be one of the bands out there who love every minute of being on stage doing what they love.

As the house lights came up and we all filtered out of the venue, the last lines of “Killer Parties” ran through my head and I thought about how well it captured the feeling of a Hold Steady show.

“If she says we partied then I'm pretty sure we partied. I really don't remember. I remember we departed from our bodies.”

SETLIST:
*Came on at 10:05 to Boston's "Rock and Roll Band"
Stuck Between Stations
Chips Ahoy
The Swish
Hot Soft Light
Massive Nights
Party Pit
Chicago Seemed Tired Last Night
You Can Make Him Like You
Stevie Nix
Guys Go For Looks Girls Go For Status
Your Little Hoodrat Friend
Southtown Girls
How A Ressurection Really Feels

Encore:
Citrus
First Night
Most People Are DJs
Killer Parties
* Went Off at 11:30 to Willie Nelson's "Blue Eyes Crying In the Rain"

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

Overall: A-

Labels:

Saturday, May 05, 2007

REVIEW: Bassnectar - May 3 - The Bluebird Theater, Denver, CO

The Scene: The energetic group of ex-ravers, hipsters, and hippies and curious music fans by that gathered together at The Bluebird on Thursday night was quite the eccentric mix. There were loads of hip hats, wild piercings, barely clad dancers and even a full length glow in the dark fur coat. It was a wild scene with plenty of eye candy that really accentuated the party vibe that the DJs were trying to cultivate on a Thursday night. Props to the crowd for doing their part and stepping up to make this evening a delight. As anyone who has been to any kind of live music event knows, the energy of the crowd makes a huge difference in the vibe in the venue. Bassnectar acknowledged this on a couple of occasions during his set and commended the crowd for coming out on a Thursday night and getting down with him.

Opener: J-Boogie. I knew very little about J-Boogie before walking into The Bluebird the other night, but I did know a decent amount about Soul, Funk, Reggae and World Music and J-Boogie proceeded to school me anyway. His 90 minute DJ set incorporated a tribute to James Brown, a track from Sergio Mendez recent collaboration project with Will.i.am and the Marvin Gaye classic Sexual Healing while keeping the crowd on their toes and dancing.

Clad in white pants, shirt and hat, J-Boogie could have stepped off of the Boogie Nights set minutes before stepping out on stage. He really got the party rolling with the warm crackles of his old vinyl. While J-Boogie didn't throw down the massive bass or quite the throbbing jungle beats the Bassnectar did, he got everyone to don their dancing shoes and warmed us all up very well. I'd go to a party thrown by this guy any day!

Bassnectar: Bassnectar chose his name wisely, as his music is drenched in some of the deepest most body shaking bass in the business. While he concentrates on throwing down the bass he doesn't forget to throw a great party. Shortly after he took the stage the right side of the stage was taken over by 15 female dancers who came up out of the crowd to help with the party vibe. The stage was also occupied by several MC's (including Souleye) who added vocals to Bassnectar's tracks throughout the evening, and a digital artist who was working on a giant tablet and projecting his every move on a screen above the stage.

It was an aural and visual orgy of sorts with so many stimuli being received that you just had to let yourself go and enjoy it rather than try to understand it. When you let go, you felt your body begin to move to the densely layered beats and suddenly you understood why this guy has risen to the level of popularity that he has. His appeal in the Jamband, Hip-Hop, Electronic music scenes originally confused me but after seeing him live for the first time, it all began to make sense. His genre bending talents appeal to people who respect artists that know how to take control of an audience and make them feel a certain way. Bassnectar has this talent and while I would shy away if you really can't take loud bass I would recommend the Bassnectar experience to just about anyone else.

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

Overall: A

Labels:

Sunday, April 22, 2007

REVIEW: Wolfmother - April 18th - The Fillmore Auditorium, Denver, CO

The Scene: The scene at the Fillmore was interesting. The show was a co-headlining bill of Wolfmother and Placebo. The result was basically an early show (Placebo) and a late show (Wolfmother) as the crowd turned over substantially in between the two bands.

As I was walking in right after Placebo left the stage there was a large contingent of goth kids flooding out of the venue saying things like "don't bother, the best band has already played." While I respect most people's opinions, it was a bit sad that these kids couldn't open their minds and check out some new music since they had already paid for their ticket.

As a result of the mass exodus it was not an obscenely crowded show and there plenty of room to get around for the rest of the evening.

Wolfmother: DAMN! These boys were born at the wrong time. They would have been force to reckon with along side the giants of the 70's heavy metal scene. Taking cues from Black Sabbath and Led Zeppelin, Wolfmother rocked the hell out of the Fillmore on Wednesday night.

From the epic solo in "White Unicorn" that Andrew Stockdale nailed on a two wand guitar to their Grammy winning and crowd pleasing "Woman" the band was hitting their stride all night. As their set developed and they became more comfortable on stage Stockdale bounced around the stage and frequently stepped up to an second mic set up on the edge of Myles Heskett's drum riser.

The bands third member, Chris Ross, played double duty as he held down the low end on the Bass and also banged on a keyboard that he wielded like a weapon at times. In true rockstar fashion the keyboard was strapped to a stand that allowed Ross to tip it nearly to the floor or tilt it up on one leg as he played.

To the delight of nearly everyone in the building Wolfmother saved one of the best for last and raged through a thrilling version of Joker and the Thief before heading off into the night.

Right up until the end the band kept the audience fully enthralled and won over many new fans (me among them). Kudos to the sound man who kept the sound impeccably clear for such a raucous performance. Stockdale's vocals came through clearly in the mix and though I had my earplugs in my pocket they stayed there for most of the night.


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

Overall: A-

Labels:

Friday, April 13, 2007

REVIEW: Birdmonster - April 12th - The Hi-Dive, Denver, CO

The Scene: The Hi-Dive was fairly empty last night when Birdmonster took the stage, maybe it's because they came on relatively early for the venue or maybe it's because they just don't have enough of a following yet. The crowd of 70 or so was primarily in their late twenties and early thirties though the venue was set up for an "all ages" show which only meant that those of us who were of age couldn't stand in front of the stage and have a beer. I've got say that I am not really a fan of this idea. I am all for all ages shows but let me stand where I can see and hear the band, not back behind some chicken wire fence because I want to have a beer. We'll have to see if this is a trend at Hi-Dive or if it was just for this show. As you can see it didn't sit well with me last night.

Birdmonster: The band took the stage at about 10:45, very early for a headliner at the Hi-Dive. I was expecting them to come on closer to midnight but it was a welcome surprise when lead singer Peter Arcuni stepped up to the mic and said "We're Birdmonster, thanks for coming," before launching into the first of 8 or so fierce rock-n-roll ragers that brought to mind The Strokes and Ted Leo and the Pharmacists.

While the sound in the club was fairly horrible, the band made up it with pure unadulterated energy as they threw themselves about the stage without missing a beat. At moments I was sure they were going to slam into each other and send guitars and basses crashing to the ground. It was good see this much raw energy slide around the stage in front of the modest Thursday night crowd.

Throughout the short 35 minute set, the band rose to startling crescendos and swooped back down into intimate and almost delicate passages effortlessly. Birdmonster may not yet have all the kinks worked out but they certainly have the passion to be a force in this business.

If you are looking for a raw, original, rock-n-roll show, check out these San Francisco natives. Aside from the sound (and I am not blaming the band for that) my only complaint was that they only played for 35 minutes . . . I mean their full length album No Midnight clocks in at 48 minutes and I was ready to hear a little more when they packed it in.

Energy: A
Sound: C
Musicianship: B-
Stage Presence: A
Set/Light Show: N/A

Overall: B

Labels:

Friday, March 30, 2007

REVIEW: String Cheese Incident - March 24th - The Fillmore Auditorium, Denver, CO

Review: I couldn’t make the Friday night show, so had to wait two days to get back to the Fillmore for another fix. It was a little bittersweet as I walked in knowing it would be the last time Boulder’s barefoot boys would rock the hall.

The evening kicked off with a less than stellar set of old fashioned single mic bluegrass from Chris Thile and How to Grow a Band. While each member of the ensemble is an amazing musician in his own right the sound just didn’t seem fitting of the evening. To be fair, this crowd was on edge and ready to explode and I don’t think that anything short of an extra set from the headliners would have satisfied them.

When the lights went down at 8:15 the excitement in the venue was electric and Jack Mento, longtime friend, spirit guide, and book keeper for the band came out onto the stage to offer an extended introduction that incorporated many of the bands album and song titles. It was a tribute to the crowd and the band and to all the incidents that the two have shared over the years. It was a fitting beginning to the last Fillmore Incident.

I have got to say that I am almost surprised that Billy waited until halfway through the third night of the Carnival to break “Smile” out as the closer of an eclectic first set. A letter home from the road, the message contained within the song served as a reminder to the exuberant crowd of why Billy is leaving and how hard it is to be in a band spending as much time on the road as these boys have over the past 15 years.

Maybe they had a good cry back stage or maybe they put the party hats on, but when they came back for set two they were ready to say goodbye to the Fillmore by blowing the roof off the place and I swear they almost did it. Welcoming Chris Thile, Noam Pikelny, Gabe Witch and Byan Sutton up to the stage the boys went back to their roots and picked out “Doin’ My Time” and “Wheel Hoss” with a fervor that I hadn’t seen all evening. Energy was simply coursing through the band.

Then came the moment that brought me back to Red Rocks in July of 2002 when Travis waved a sequin gloved hand in the air before dropping into the instantly recognizable beat of “Don’t Stop Till You Get Enough” midway through the second set. Keith let us all know that they were going to continue the tradition of “letting ‘Trav’ do something strange.” As soon as the red energy hats were passed out on stage I knew we were going to be treated to a bluegrass version of the Devo classic “Whip It!” Travis did not disappoint and even offered live whip cracks to the song. As they wound “Whip It!” down they effortlessly segued into “Orange Blossom Special” before reprising “Whip It!” to the delight of the crowd.

The crowd was another story entirely, while the band was doing their part to blow the roof off the place, the crowd was doing theirs as well as I have ever seen them. Every single person in the room knew they were witnessing something special and the band and the crowd were feeding off each other in a ferocious and organic way. Every flurry of notes or bass bomb was welcomed with deafening appreciation which was quickly rewarded, and so on and so on. For most of the set the air above us was filled with either glowsticks or balloons, it was like New Year’s Eve as at least a hundred brightly colored balloons bounced around the room for the last 40 minutes of the set.

To be honest I am not sure if it was the music or the crowd, but the feeling I left the Fillmore with on Saturday night gave me “the fever” again. I had it bad several years ago and I am glad that the boys brought it back. If they are gonna go, they might as well go out with a bang. If these shows at the Fillmore were any indication, they clearly intend to.

Setlist:
Set 1: Restless Wind, Cedar Laurels > Rhum 'N Zouc, Midnight Moonlight, Eye Know Why, Love Is Like A Train, Valley Of The Jig > Smile

Set 2: Doin' My Time*, Wheel Hoss*, Whip It!* > Orange Blossom Special* > Whip It!*, It Is What It Is, Galactic > Shine

Encore: Piece Of Mine, Sittin' On Top Of The World > Texas

* - with Chris Thile on mandolin, Noam Pikelny on banjo, Gabe Witcher on violin, Bryan Sutton on guitar


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

Overall: A

Labels:

REVIEW: String Cheese Incident - March 22nd - The Fillmore Auditorium, Denver, CO

Review: So here I am, a couple of days removed from what was probably my last Winter Carnival at the Fillmore here in Denver and I’ve got say it’s a bit sad. Say what you want about this band but they always delivered their trademark bouncy sound in a manner that made nearly every face in the venue break into a huge grin.

Whether your passion be Bluegrass, Funk or Electronica, Cheese has something to offer each one of us and they are to be commended for that. Sure, the last couple of years haven’t offered the consistently stellar performances that were the norm between 2000 and 2003, but we have to remember that this is a group of people just like you and I that are changing and evolving everyday. I myself have never been in a band but I can only imagine what it takes to hold it together and persevere as a unit for nearly 15 years.

When Nershi announced last fall that he was moving on after the Summer of 2007, a noticeable ripple passed through the SCI community. I got phone calls from friends around the country and began checking in with the SCI website more and more frequently to ensure I didn’t miss the announcement of the dates for Winter Carnival. When they finally posted I was thrilled that I would be in town and I would get to be there when they said goodbye to the hallowed hall that is the Fillmore Auditorium.

When the Thursday show finally arrived I walked up to the Fillmore from my house and was greeted by a familiar scene at the corner of Colfax and Clarkson, hundreds of fans milling about muttering sweet nothings and holding fingers in the air. While it wasn’t immediately clear that these shows were the end of era, it was great to see the community pull together in support of their boys.

In traditional Winter Carnival fashion SCI had invited several special guests to join them in their celebration and the guests of honor on Thursday were The Polyphonic Spree. While their trademark gowns have recently given way to a more severe army costume, their psychedelic gospel sound has remained intact. It was a shame that so many fans chose the Colfax shakedown over the revival that was going on inside the Fillmore, but I suppose it’s understandable, after all the incident doesn’t really begin till Cheese takes the stage. That being said, by the time the Spree’s 18 members took their bows and said goodbye I was eagerly awaiting the ritual collaboration with SCI later in the night. As it turned out I wasn’t to be disappointed.

As we waited for the boys to appear the excitement in the venue increased dramatically. By 8pm the floor of the Fillmore was packed and people were still streaming in. At ten after 8 the lights went down and the crowd went through the roof, what a welcome home!

Any doubts of a great evening were immediately smashed when the bluegrass stomp of “Johnny Cash” filled the venue. A rare opener from the old days, it’s songs like Johnny Cash that so many of us fell in love with. It is a great old timey song that has been given the SCI treatment. It was quite a treat it was and it certainly signaled a hell of an evening to come!

The highlight of this show for me came at the beginning of the second set when Tim DeLaughter and the horn section and chorus from the Polyphonic Spree army joined SCI on the stage and added their psychedelic gospel sound to mix. There were some puzzled faces in the crowd when the band broke into the smooth 70’s sound of Blue Image’s “Ride Captain Ride,” but all faces showed recognition when the chorus rolled around. While the song may not have been chosen for it’s lyrics they sure were appropriate for the vibe that the String Cheese Incident manages to conjure up everywhere they go.

“Ride, captain ride upon your mystery ship, be amazed at the friends you have here on your trip. Ride captain ride upon your mystery ship, on your way to a world that others might have missed.”

Nershi’s vocals were a little rough at the beginning but everyone was warmed up by the time DeLaughter and his disciples took the reigns for the chorus. His voice fit in perfectly and the acapella breakdown that wrapped up the tune featured the crowd singing so loudly they almost drowned out the band. It was one of the moments where everything seems to fall into place and I wondered why these two bands waited so long to share the stage.

Setlist:
Set 1: Johnny Cash, Round The Wheel, Black And White, Farther, Black Market > Mouna Bowa, Close Your Eyes

Set 2: Ride Captain Ride*, Best Feeling > Can't Stop Now, 45th of November, Solution, Joyful Sound, Way Back Home

Encore: Outside and Inside > Jessica

* - w/ Members of Polyphonic Spree

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

Overall: A

Labels:

Sunday, February 11, 2007

REVIEW: Joe Ely's 60th Birthday Party (featuring Ryan Bingham and the Dead Horses) - February 9th - Bender's Tavern, Denver, CO

The Scene: This was an invite only party celebrating Ely's 60th that followed his appearance at The Paramount with Lyle Lovett, John Hiatt and Guy Clark on the Four Horsemen Tour. At the beginning of the night there were two distinct camps in Bender's. Those who knew Ely and those who didn't.

All told, there were probably 150 or so people in attendance including Nick Forester (of Hot Rize and E-Town fame), his wife Helen and Mayor John Hickenlooper (who accidentally ducked into the women's bathroom to the left of the stage). I ran into Guy Clark in the bathroom but he never made it back into the party and John Hiatt and Lyle Lovett never showed their faces either. In fact, Ely was only in the room for the first 20 minutes or so of the party and the first 2 or 3 songs of Ryan Bingham's set. I figured he must have left to prep for the inevitable late night jam with touring buddies but alas there was no collaboration and Ely himself only came out for 2 songs at the very end of the party. One solo (with a little help from Bingham on vocals) and then he stepped up to the mic to sing parts of Townes Van Zandt's "White Freightliner Blues" with Bingham and his band. It was great to see Ely in such a small venue but it would have been nice to see a couple more songs by his tourmates. An apprearance by Lovett or Hiatt would have really made for a memorable evening and it was a shame it didn't happen.

Ryan Bingham and the Dead Horses: Bingham and his band deliver some honest to goodness boot stomping, shit-kicking Texas country and it was easy to see why Ely invited them to play his party. They started out a little rough but as the sound problem got worked out they kicked it into high gear and had even some of the hipster folks in attendance cutting the rug in front of the stage. While this sound isn't really my cup of tea most of the time, I can appreciate a good band when I see them and these guys were hitting on all cylinders.

They have clearly been learning from Ely and the rest of the best in the Texas Honky-Tonk Rock-N-Roll scene. They lean a little more to the country side than Ely but definately rocked Bender's on Friday night.

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

Overall: B

Labels:

Sunday, January 21, 2007

REVIEW: The Sputter - January 20th - Meadowlark Tavern, Denver, CO

The Scene: The Meadowlark is a small bar at the corner of 27th and Larimer, just North of downtown. It is about a year old and, with it's location just around the corner from The Larimer Lounge, has been growing rapidly. This is a bar that could have done just as well as a hole in the wall bar that offered an alternative to The Larimer, but they have taken it upon themselves to create a completely seperate identity.

While the bar was full for most of the night it was never packed to the point where you couldn't get to the beautiful cherry bar to order a drink. A mix of preppy and hipster 20 and 30 somethings milled around talking, drinking and listening to the band. The owner, a humble good natured iron worker from North Dakota, clearly takes pride in his bar and was there till nearly closing, helping out and chatting with his customers.

The Meadowlark has always offered some kind of live entertainment each night of the week, but until recently it was largely DJs. Recently, bartender and talent buyer, Tory Baker has started bring live bands to the cozy confines of the basement bar. If The Sputter are any indication of the kind of bands that they are booking regularly I will definately head back up there for a chill night of jazz at a neighboorhood bar. This is just the scene I wasn't sure I was going to be able to find in this town.

The Sputter: Listing influences like E.S.T., Medeski Martin and Wood, Jacob Fred Jazz Odesey and Radiohead The Sputter are a four piece experimental Jazz combo who rely largely on improvisation to flesh out their sets. Throughout the evening the bassist Jonathan Rakstang switched between upright and electric bass while Dave Kurtz kept time on a minimal drum kit and the nimble fingers Jon Wirtz danced on his keyboard. Recently this band expanded from a trio to a quartet with addition of Trumpeter Joshua Trinidad. Altogether the group is clean while not always perfect. They are a young band and, like any improv based collective, will take time to mature. That being said, their sound is inviting and offers the listener the option of lush background music or an active listening experience. At moments they will grab your attention as they build to the climax of a song but largely they seemed content to dominate the vibe in the room.

Their three set performance started about 9:15 and lasted until shortly before 1:30, an impressive display from a band that has been together only 2 and a half years. Between sets the band members were sharing conversation and beers with friends and strangers alike in the audience cultivating an air of community in the small venue.

While most of the tunes they played throughout the evening were not immediately recognizable to me, my friend Jay noticed that they opened their second set with an instrumental version of Radiohead's Motion Picture Soundtrack. They stuck to the original for the first few minutes before steering off into a very solid jam that eventually wrapped back around and finished off with the main theme.

Who knows if The Sputter are headed for greatness, but if they stay together and mature as a band they may just break out of the Colorado Jazz scene and into bigger markets. For now they are a treat to listen to in small bars like the Meadowlark right here in Denver.

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

Overall: B

Labels:

Tuesday, January 16, 2007

REVIEW: My Morning Jacket - January 13th 2007 - Ogden Theatre, Denver, CO

The Scene: It was a bitter cold night in Denver, like sub-zero cold, but this show was sold out and it was anything but cold inside. We went in about halfway through Elvis Perkins' set and found a spot against a rail about a third of the way back in the theatre. It was great for the remainder of Perkins set but as soon as set break arrived we knew were in for it. The show seemed oversold and everyone wanted to be up near the front. It was simply too crowded and the general attitude was one of "I deserve to be here so you can go to hell." It was unfortunate but true, and many in our group just couldn't take it and headed up to the Balcony after about 30 minutes.

It was nice to see that The Jackets are attracting a wide cross section of fans these days. There were young punk kids, preppy 20 somethings, a good number of yuppies out on a Saturday night and even some grey hairs most of whom didn't really seem phased by the sardine like experience. They may play their own brand of spacey, grunged out, southern jam rock but apparently there is something for everyone in there somewhere and that is always nice to see.

Opener: Elvis Perkins. I would like to catch Perkins when he is playing his own set. His americana laced acoustic tunes didn't carry well through the theatre and frankly it is hard to pay attention to a band when no one around gives a damn.

Perkins' voice was reminiscent of Jerry Garcia and his band could have been a group of travelling minstrels, just trying to make their way. I've got to say that I was dissapointed that the Deerland Horns didn't make an appearance during the set as I have heard great things about their contribution to the band.

I would like to give Mr. Perkins and his band another chance when they return to Denver, so I guess they made a good enough impression.

My Morning Jacket: DAMN! These guys can rock. I mean they REALLY rock. I would have checked the Ogden for structural stability after their two night stand. I am surprised they didn't blow the back wall off the room. From the word "GO!" Jim James reverb drenched vocals, the ethereal guitars and keys, and the thunder of Patrick Hallahan's drums forced the audience to pay attention. For their opener they launched into "It Beats 4 U" of off their most recent studio offereing Z It was clear we were in for a ride.

Relatively early in the evening, as James and company stomped and soared through several tracks off of Z including sure to be classics "Wordless Chorus," "Off the Record" and "Gideon" it became clear that some of the best material from their previous albums fit in perfectly right along side. Tracks like "Lowdown" from their 2001 release At Dawn and "Golden" from 2003's It Still Moves prove that Z wasn't a fluke and is simply a product of a band who is reaching maturity. If they can continue to crank out albums like that one, they will go down in history with bands like Zeppelin and Pink Floyd.

As the night wore on the crowd thinned out a little bit and became a little easier to breathe. The band must have sensed the this and slammed us with the 1-2 punch of "One Big Holiday" and "Mahgeetah" to finish their set. They left the stage for a brief break and the audience response was deafening. Chanting, stomping, whistling and even some girlish shrieking beckoned The Jackets to return to the stage, and return they did for an eight song encore that they led off with "Into the Woods" from Z before giving us three crowdpleasers from It Still Moves, "Rollin' Back," "Easy Morning Rebel," and "Dancefloors."

Coupled with their incindiary performance was a jaw dropping light show. Master lighting designer Marc Janowitz is working with the band these days and his experience behind the board is immediately apparent as he fills the room with intense bursts of light and dense fog. Throughout the concert Janowitz matched the feeling and beat of the music perfectly and added significantly to the already immense power of the show.

If thunderous Rock-N-Roll that freaks a bit into the jam world, and mind blowing lights aren't enough to convince you that these guys are a powerhouse in the music world then how about he old cliches of Gibson Flying V guitar and feather boas. Both of which James was sporting throughout the night. As he strutted and thrashed around the stage swinging his long scraggly hair it was impossible to miss his black and white moon boots that seemed to oddly complete the surreal look.

It was quite simply one of the best rock shows I have witnessed. They pulled out all the stops and threw caution to the wind. Despite the densely packed crowd and the attitude that unfortunately made the tight confines even worse, I would gladly brave another sub-zero night to catch these guys try to bring the house down again.


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

Overall: A

Labels:

Saturday, January 13, 2007

REVIEW: Randy Newman - January 8th 2007 - Lincoln Center, Fort Collins, CO

The Scene: It really is dissapointing when you realize that most of your generation has missed out on an incredible talent. While I understand that Randy Newman is not a spring chicken, he writes music that has wide appeal across generations as evidenced by his mega-success writing songs over the past 10+ years for Pixar's animated movies.

The average age at the performance was at least 50 and before the show I overheard two guys in the bathroom talking about their regiments for treating enlarged prostate problems. Decidedly not the crowd whose next live music experience would involve Gibson Flying V guitars, moon boots, strobe lights and fog as mine will.

I grew up being exposed to all kinds of music I can honestly say that I enjoy being exposed to crowds like this. I respect each and every person who ventured out on Monday to see Newman play in the modern confines of the Lincoln Center theater. I guess it is understandable that the theater was not by any means packed as it was but the first of 5 performances in Fort Collins, but this is a performer who has played some of the most hallowed halls in our Country and around the world. He has graced the stage of Carnegie Hall, The Hollywood Bowl and countless other venues around the world.

With all that said, Newman didn't seem phased by any of it and put on a great show. He created an intimacy with his down to eart, good natured attitude that is hard to match. He even made a couple of jokes about his age and the age of most of the audience members.

Randy Newman: At the stroke of 7:30, Newman walked out onto the stage very unassumingly. He took up his seat at the beautiful Grand Piano and launched right into "It's Money That I Love" a tongue and cheek ballad accented with some tasty Honky Tonk piano playing that served as a precursor to the direction that much of the evening's humor would take. Songs like "It's Lonely at The Top," "The Great Nations of Europe," and "Political Science" followed later in the set and also showcased Newman's signature brand of dry humor. He never missed a beat as the audience broke in laughter several times during each of these pieces.

Between songs Newman took time to tell short stories about the origin of some of the tunes and he even entertained requests from the audience toward the end of the show. He managed to keep the mood light even as he occasionally dropped strong anti-Bush sentiments. He doesn't seem to take himself too seriously which is refreshing in this day and age of the preaching rockstar who see the stage as their pulpit.

While you may or may not know it, Newman has had his share of hits over the years. He didn't neccesarily sing the versions that rose to the top of the charts but he wrote them just the same. He peppered his performance with solo renditions of several of these songs including: "Mama Told Me (Not to Come)," made famous by Three Dog Night, "You've Got a Friend In Me," which he sang for the movie Toy Story, and "You Can Leave Your Hat On," which Tom Jones and Joe Cocker made into international hits for themselves.

As he finished "You Can Leave Your Hat On," Newman shared with us a conversation that had with Joe Cocker a few years ago. Apparently Newman asked Cocker why he thought he had so much success with the song and Cocker simply replied, "it is all about the key you play it in." Newman then demonstrated the songs recurring piano part played in several different keys. It was immediately crystal clear that the key Cocker chose was much catchier than the low register Newman had chosen when he originally penned the song. "I could have done that," he sighed. "I just didn't think of it."

While much of the show was funny and he had us laughing throughout the night, Newman also delved into the more poignant and touching songs in his repetoire. Tracks such as "I Miss You," written about his first wife when married to his second "Baltimore" and "Marie" constrasted starkly with some of the more humorous songs in his catalogue but also showcased his range as a composer and songwriter. One of the highlights of the evening came in the form of "Louisiana 1927," a tear jerker of a ballad that recently came back into national focus when Katrina stuck in 2005. As he sang the lyrics "the river rose all day, the river rose all night. Some people got lost in the flood, some got away allright," it was immediately clear why the song had touched so many during the terrible tragedy of the hurricane.

Whether he is packaging a harsh message in a pretty package or singing a truly heartfealt ballad about love or loss, Newman has to be ranked right up there with the classic American songwriters. His knack for words is uncanny and he couples that with extraordinary piano chops to create a lasting contribution to our musical culture.

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

Overall: A-

Labels:

Sunday, December 03, 2006

REVIEW: David Wilcox - December 1st 2006 - Gothic Theater, Denver, CO

The Scene: Talk about a cross section of people. It was a rare seated show at the Gothic and there were folks who probably hadn't ventured from their mountain cabins to the big city in months if not years. There were hip 30 somethings who probably stopped by on the way out for the night, and there were a bunch of yuppies who didn't look like they frequented the concert scene in Denver. It is clear that Wilcox appeals to a wide range of people and while the Gothic wasn't sold out it was pretty full downstairs.

Opener: The Late Great Jack Ridell. Ridell is a young folk musician who doesn't really stand out from his peers. While a couple of songs stood out during his set, his style didn't really speak to me. He seemed a little bit nervous and while he joked a bit he never really connected with the audience.

Musically Ridell seemed to draw on elements of the folk and blue traditions while vocally he did what he could with a (self described) mediocre voice. He often seemed to be almost speak singing and unfortunately he lacked the inflextion or emotion to make it work for me.

While he didn't bore me, I think that Ridell's set would have been a bit stronger had he stuck to the solo folk signer model. Instead he brought out another musician to play slide guitar and mandolin. While at moments the slide added to the music, it generally seemed to be an afterthought. Almost like they hadn't practiced together much at all.

Don't get me wrong, I have an enormous amout of respect for musicians who are willing and able to get up on stage and share their music with a room full of strangers. I don't know if Ridell will make beyond the opening circuit but I do give him credit for trying.

David Wilcox: The first time I saw David Wilcox nearly 12 years ago he amazed me at his ability to connect with the crowd and make even the biggest room feel intimate. Friday night at the Gothic he won me over again. He seems utterly comfortable on stage and as he weaves his trademark stories into his songs his banter is effortless.

Wilcox took the stage moments after Ridell left the stage and played the part of a roadie as he set up his gear. It was a bit comical when Wilcox started to play and the setbreak music didn't fade out. It was almost as if the sound man didn't know the man on the stage was the headliner. After a minute or two the message got through and the music faded out and without a word Wilcox launched into his most recognizable song, "Eye of the Hurricane." This drew a great reaction from the crowd and he proved that his voice is only getting better with age. His second offering, "Rusty Old American Dream," also came off the How Did You Find Me Here album and Wilcox was obviously on top of his game. His guitar sounded full and clear and his voice as smooth as ever.

The unique sound that characterizes Wilcox's songs are a product of his mastery of alternate tunings. Throughout the evening he must have retuned his guitar 15 times and each time I was amazed at how quickly he retuned to exactly the right notes.

Wilcox drew on songs from his entire career as a songwriter and completely wowed the audience with a very rare rendition of "Rudy's Rap." The song is literally a rap about Rudolph the Red Nosed Reindeer. He had the audience in stitches as he flawlessly ryhmed his way through the 2 minute song. If you can find this recorded somewhere, do yourself a favor and pick it up for the holidays.

Wilcox also debuted a song for the Denver crowd. A political statement about bringing peace to Jerusalem. It was a solid new song and again proved to me that Wilcox still has the creative energy to continue to stay on top of the folk world.

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

Overall: A

Labels:

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

Labels:

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-

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-

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+

Labels:

Thursday, October 26, 2006

REVIEW: The Silversun Pickups - Tuesday October 24th 2006 - Hi-Dive, Denver, CO

The Scene: While not quite sold out, the Hi-Dive was as crowded as I have seen it. Punk and preppy, it was a crowd that evidenced that a band that was about to break through into the mainstream was going to take the stage. By that I mean a crowd of people who aren't regulars at the Hi-Dive and are in touch with what is going on musically in Denver. Maybe it was a magazine article or a friend from out of town that turned them on to The Silversun Pickups but it doesn't matter. What matters is that they came out and braved the somewhat dingy confines of the Hi-Dive to hear a band they probably didn't know that well.

With the improvements going on at the Larimer Lounge it looks like the Hi-Dive may well be on the road to becoming the city's best "dirty little rock club." The grafitti and stickers in the bathrooms and the pieces of the ceiling hanging down took me back to the old Larimer. Don't get me wrong, this isn't a bad thing. There is a certain element that thrives in this environment and it is important for a city's music to have it. Everyone may not love it but it makes for good stories and more imporantly, it often gives birth to great music. CBGB's is the prime example. The birthplace of punk had it's issues but none of them rocked the crowd or poured from the speakers.

Opener: The Kingdom! Their relatively short set of sometimes VERY short songs didn't really do it for me. They seemed a little loose and as the lack of enthusiasm from the crowd evidenced, they seem to have some work to do before they start drawing big crowds on their own.

The Silversun Pickups: These guys seemed young, hard to believe they have been a band for 7 years or so. While they only have one album out, their dedication to their music shows clearly in their playing. They are tight as hell for any band . . . let alone a band that only has one album and is just starting their ride up. Their stops and starts were as a unit, not as indivuals trying to keep up with each other and the resulting shifts from loud to quiet were almost unnerving.

The Pickups raged through most of Carnavas during their 50 minute set and Brian Aubert handled his frontman duties very well. He worked the crowd with suggestive banter and humble thank you's and Nikki Monninger dropped bass bombs loaded with attack and angst. I've got to say she looked far to innocent with her long curly brown hair to be playing bass and singing on songs like "Lazy Eye," and "Future Foe Scenarios." Her bass work often pushed it's way to the front of the mix as her fingers danced dangerously on the fret board.

The bands classic metal influences reared their heads a couple of time throughout the night. For the second song of the set Aubert energized the crowd with his Hendrixian guitar riffs that make up the core of "Well Thought Out Twinkles." As the set progressed the maturity of this band was apparent. From the structure of the setlist to the sound mix coming from the stage everything seemed right on the money.

Speaking of right on the money, drummer Christopher Guanlao sets and agressive and throbbing tempo behind his strange kit. I honestly have never seen a drummer play with his crash symbol set so high. While it was at least 2 feet above his head it became clear early in the night that his animated drumming style regularly brought the crash to within easy reach.

The Pickups have been packing clubs around the country and while this was their first stop in Denver our city didn't let them down. I am sure there are most than a few new fans that would head out the next time they are in town.

Let's hope it's soon.

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

Overall: B

Labels:

Wednesday, October 25, 2006

REVIEW: Trey Anastasio - October 23rd 2006 - Fox Theatre, Boulder, CO

The Scene: The crowd outside the Fox was a bit different than the crowd at Twist and Shout the previous night. The dirty hippie element was in effect but didn't overtake the vibe which was nice. We pulled up at about 8:20 and went straight into the main room that was already about two-thirds full. We found a good spot right in the middle about 15 feet in front of the sound board where the sound is pretty much perfect (not there it sounds bad anywhere in the venue).

Average age of the crowd was around 30 and the underage side of the room was full of over 21's who choose not to drink in favor of getting a better spot to stand and maybe even a seat. There were a few older folks who were grooving to the music all night and that was great to see. The crowd was well behaved and it wasn't even too bad getting back to your spot after a trip to the bathroom.

Trey Anastasio: This show was a rager! Three songs into the first set I glanced at my watch and he had been playing for 50 minutes. Three songs into the second set it had been over an hour. Anastasio was on fire and he and his band looked like they had finally gelled a bit. Over the last few years it has been disappointing to see Trey Band play because they never seemed in step with each other and Trey was calling all the shots. It was different at the Fox. The band seemed to be playing as a band. The rhythm section of Tony Hall and Jeff Sipe layed down a complex lower end. Hall was all over his five string and Sipe kept good time from behind a kit that was largely in the dark for much of the show. Don't get me wrong Trey was running this show but he seemed to be enjoying it and all the musians were feeding off each other in a way I have seen out of an incarnation of Trey Band.

The packed house erupted when Trey and company walked at 10 minutes after 9. After a moment or two of tuning/noodling they launched into a fairly lackluster "Spin" but from there things took off. They blew the dust off with a short jam at the tail end of "Spin" but "Push on til the Day" was were we started to see what this band is capable of as the 20 plus minute jam featured vintage Trey. Next we were treated to more vintage Trey in the form of "Gotta Jibboo." The crowd was comprised of a lot of old Phish fans and this song took them back to their days on tour. Again topping out at more than 20 minutes the jams peaked at frenzied heights and sank to dank and dirty lows. Trey leaned in toward Tony Hall and got into some fierce battles as they locked eyes and made crazy faces.

The set slowed down a bit as the band bounced through "Drifting" before whipping things up again for "Mr. Completely." Trey was positively belowing into the mic as Jennifer Hartswick and Christina Durfee bolstered the song with their backup singing. After an average "Goodbye Head," "Come As Melody" brought the house down as the first set closer.

All night long the lights were top notch. I think they were just using the house rig at The Fox but that rig is better than many bands touring rigs. The lights were timed very well with the music and definately helped the crowd get into the music. Props to whoever was working the lights.

As the lights came up long time phans were looking at each other in near disbelief. Yes there have been rumors going that this band was different but we had just experienced a great first set and there was still 90 minutes to come!

I spent the set break talking with Paul Murin (who "plays Trey" in the tribute band Phix) and he said more than once that he hadn't seen Trey play like this in years. As he said "I wonder what craziness he will bring in the second set."

After a relatively brief setbreak of 30 minutes the band took the stage for an over the top 80 minute second set comprised of 4 songs. The old Trey Band song "Money Love and Change" led the way and set the stage for some outstanding jams. There was distorted trumpet, 'round the horn jams that included Trey calling for audience participation, a completely sick piano solo by the incomprable Ray Paczkowski where he seemed to seize control of a jam when Trey and Tony were about to steer it in a different direction. Trey looked at him as it to "ok, if you want it that bad you can have it." It was the one moment in the show when Trey seemed to have lost control of the band, in a very, very, good way!

He did regain control to guide the band through the structured beginings of The Way I feel, Night Speaks to a Woman and What's Done but the vocals seemed an aside as the songs were basically vehicles for the incindiary jams that continued to rage right up until the band left the stage.

They could have been done right then and there an no one who have complained one bit but after about 5 minutes the band emerged and busted into a rocking version of "Mud City." The blistering guitar work fanned the flames that were dying down after the second set and when they finally left the stage at 12:20 the capacity crowd was looking pretty happy.

Setlist:
Set One: Spin, Push on til the Day, Gotta Jibboo, Drifting, Mr. Completely, Goodbye Head, Come As Melody

Set Two: Money Love and Change, The Way I Feel, Night Speaks to a Woman, What's Done

Encore: Mud City

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

Overall: A

Labels:

Tuesday, October 24, 2006

REVIEW: Trey Anastasio - October 22nd 2006 - Twist & Shout Records, Denver, CO

The Scene: This was an acoustic in-store performance at Twist and Shout's brand new location on Colfax Ave (a mere block from my house!!!). The line to get in started about 5pm sharp and there were already about 15 people lined up at 5:05 and it grew steadily from there. I didn't get in line until about 6:20 and was probably about 200 people from the door. There were a few people looking for the wristbands that it took to get into the show and I heard one person offering "50 and a Green for your Red." Meaning he would pay $50 for a wristband that not only guaranteed a spot in the store for the show (as the green ones did) but also an opportunity to meet Trey (only the red bands afforded this option).

The crowd was Denver white and was primarily in their late 20's to mid 30's though there were a few kids running around closely monitored by their music freak parents. All in all a well behaved crowd that lacked the "dirty hippie" influence.

The high ceilings and open layout of the new store offer a great room for in-store performances back in the Vinyl section. No longer are the fans wedged between racks of CDs as they watch the performance. The store is able to create more of a venue like feel and that makes for a much more enjoyable in-store experience.

Trey Anastasio: Anastasio came out to a thunderous applause and honestly looked thrilled to be there in this brand new store playing the first notes of live music for about 350 cheering fans. After a quick introduction from a Twist & Shout employee (Patrick) Anastasio picked up his acoustic guitar and almost sat down in front of a mic stand that was all set up for him. As he sat he asked if we could all see him if he sat. A rousing chorus of "NO" rang out from the crowd and he grinned and stood up and adjusted the mic stand to the delight of the crowd.

I was expecting his set to be comprised largely of tunes off of his album Bar 17, but apparently he wanted to vary things up a bit. He opened with the Phish crowd pleaser "Sample In A Jar" and though the song didn't have the same punch as it does with the full Phish line-up behind him he did get heads bobbing and phans singing along.

The "Inlaw Josie Wales" came next and showcased Anastasio's less appreciated acoustic guitar prowess. He did catch a couple of wrong notes in the songs more intricate sections but he just grinned and brushed it off adding to the intimate living room feeling of the show. He further added to that intimate feeling by talking with the crowd and even at one point hoisting a little girl up onto his shoulders to show off her brand new red cowboy boots to the entire crowd. He then rewarded her (and her parents) by saying "I love those red boots. Now I gotta play a cowboy song for you," and launching into "Back On The Train." He isn't known for his acoustic guitar work and while it obviously isn't his strong suit he did impress me with his ability to translate some of the Phish songs into the solo acoustic realm.

Later in the show, after a great version of "Waste," Anastasio took a request from the crowd to sing "Page's New Shirt," a song he made up on the spot backstage at a Phish show and is captured in the documentary, Bittersweet Motel. After singing a couple of lines from the impromptu tune he took another request from the audience and played "Camel Walk," after making the requester promise not to "hit him in the head with a beer bottle" if he forgot a verse as he claimed not to have played the song in more than 2 years. The audience got into "Camel Walk" and sang along before Anastasio segued into another Phish classic "Chalkdust Torture," to finish the 45 minute set.

Though it only took me about an hour to get through the line to get my poster signed, I heard that some folks waited nearly 3 hours for the opportunity to meet Anastasio. He was a great sport to hang out and meet more than 200 of his fans and I think people left with the feeling that he actually cares about the people that have stuck with him for all these years and have given him the opportunity to make music for a living.

Setlist:
Sample In A Jar
The Inlaw Josie Wales
Sleep Again
A Case Of Ice And Snow
Back On The Train
Dragonfly
Waste
Camel Walk >
Chalk Dust Torture

Energy: B+
Sound: B
Muscianship: B+
Stage Presence: A
Set/Light Show: N/A (It's a record store afterall)

Overall: B+

Labels:

Thursday, October 19, 2006

REVIEW: The Saw Doctors - October 17th 2006 - Bluebird Theater, Denver, CO

The Scene: A snowy Tuesday in Denver. The theater was decently full but far from sold-out and it felt like it. There just wasn't the energy there would have been if it were a weekend or a certain day in the middle of March. Though there were a few 20 something scattered about, the crowd was generally in their 30's, 40's and 50's. They just weren't hoisting the pints like they used to and many were contented to sit and enjoy the show without particpating too much. Don't get me wrong, I understand it's tough to go hard on a weeknight, but this is a band that thrives on audience participation and I think the fact that it was lacking a bit tonight had it's effect on the show.

Kudos to whoever organized the bus to come to the show. When we walked up there was huge Miller Lite bus pulling up in front of the theater. While there weren't hundreds of people pilling off, there were a fair number. It was also there at the end of the show as well to pick up the tired revelers.

Opener: This is an interesting story. When I got to the window to pick up my tickets I saw an opener listed flyer so I asked what time The Saw Doctors would come on. The woman working the box office glanced at what I assume was a schedule on the wall, and told me "right around 9." My buddy and I went across the street to catch some of the NLCS game between the Mets and Cardinals and headed back over to the show at about 8:45 thinking we would be walking in right between sets. I was confused when the doors opened and I heard the unmistakable sound of The Saw Doctors coming from the stage. Apparently they went on about 8:30 and I have no idea if there was an opener or not. Note to The Bluebird, make sure your box office has the right information about the show. You could lose some patrons if you give out the wrong information.

The Saw Doctors: This is a band that released the best selling single of all time in Ireland back in 1991. "I Useta Love Her" spent nine weeks atop the charts and has led many to dub the band "The Best Irish Rock Act Since U2." Their sound is distinctly more Irish than that of countrymen U2 but they certainly have a knack for writing good songs that have pushed many a party into the wee hours of the morning.

Their line-up has changed a bit over the years but core of the band remains unchanged with Leo Moran and Davey Carton remaining at the helm. Moran and Carton have aged a bit in recent years but were in fine form at The Bluebird. They worked crowd very well all night interspersing new songs into a set peppered with hits such as "Wake Up Sleeping," "The Green and Red of Mayo," and "Clare Island." Between the energy on stage and the specials on Guinness the audience did their best to keep up on a snowy Tuesday night only falling short when Carton called on us to sing his parts. Maybe people didn't know the words or were just shy but I have to question the smarts of trying several times to get an audience to sing when they clearly aren't that into it. My suggestion is to recognize it is A) Tuesday, B) you are in Denver, and C) it's snowing and move on with the set pouring all the passion you can into the next song.

While the main set was good, the band seemed to really step things up when they came back for a four song encore. "Bless Me Father" from their 1996 World of Good single kicked things off by parodying a Catholic confession with lyrics like "Bless me father for oI have sinned. She had big brown eyes and silky skin. Bless me father I couldn’t resist. Father you just have no idea what you’ve missed." During this song a guy in the front row hoisted his girl up onto the stage and convinced her to dance. The security guard at the side of the stage didn't take to kindly to this and escorted her off by the forearm as she stared helplessly down into the crowd. She was taken side stage and I didn't see her come back. The band then launched into a surprising cover of the T. Rex hit "Bang the Gong" with Carton playing a jet black Gibson X-plorer. This kept the crowd revved up and they finished with a powerful combination of two of their best loved songs "What a Day," and "Hay Wrap."

Overall a good show. It lacked some of the punch and raw energy that I have seen at Saw Doctors shows in the past but for now I am chalking that up to a snowy Tuesday in Denver.

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

Overall: B-

Labels:

Monday, October 16, 2006

REVIEW: Secret Machines - October 14th 2006 - Fox Theater, Boulder, CO

The Scene: The scene at the Fox Saturday was fairly typical. While it was a bit younger than I expected with an average age in the mid twenties, the crowd was a good mix of dready hippies, the tatooed punk element and preppy college kids with the occasional graying music fan thrown in. I was suprised that the show wasn't sold out when we walked in a little after 10. Maybe the dark psuedo-psychedelic rock of the Secret Machines just doesn't fit into the mainstream enough to pull the kids away from the weekend parties.

Secret Machines: With no opening band, Secret Machines took the stage at about 10:30, and what a stage it was. The band has been travelling with their own stage, lighting rig and sound system for this tour and they set it up smack in the middle of the Fox. In a room that usually holds about 800 people a full stage set up takes up some serious space. No one in the room was more than 20 feet from the stage and it really made for an intimate environment to see a band with this much energy.

From the first note of the first song they pulled out all the stops. The sound was up to usual Fox standards (even though it was their own rig) and the lighting rig was enough to blind just about anyone. The three band members faced the center of the stage and you could watch them as they played off each other all night. The lights in the center of the stage acted as footlights and lit each member from below giving a earie effect when it was desired and then as the music built the stobes and banks of LEDs would come into play in seizure enducing bursts. It was a spectacle to say the least.

The jams were tight, the drums loud, and the guitars screaming; just as you would expect from a band that has earned comparisons to Pink Floyd, Led Zeppelin, and Rush. I am not extremely familiar with their music and honestly I went primarily to see how they were going to pull of an "in the round" performance in such a small venue. They did of course play crowd favorite "Alone, Jealous and Stoned" from the new album but the highlight of the evening came during the powerful "The Road Leads Where It’s Lead" as the crowd sang along in unison to the chorus of "blowing all the other kids away!"

They may not have wowed me with their music but as far as production values go, these guys are "blowing all the other kids away." The have set a new bar in terms of small venue shows. I will never look at the Fox in the same way after Secret Machines took control of the venue and made a great room even better.

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

Overall: A-

Labels:

Wednesday, October 11, 2006

REVIEW: Paul Simon - Tuesday October 10th 2006 - Magness Arena, Denver, CO

The Scene: Magness is a small hockey arena where the DU Pioneers play. It holds about 8,000 people and it was full for this show. The crowd consisted of everyone from college kids to their grandparents. With Simon just 3 days shy of his 65th birthday it wasn't a surprise that the average age was probably in the mid 40's. The crowd was up and down for the most of the night. Standing for the well known rockers and sitting for the quiter numbers. Overall a very good crowd and the venue staff was very friendly as well.

Lines at the cocktail concessions were a little long and slow moving but the hidden gem of the venue is the fact that they sell 24 oz Molson Canadian's for $7 at the beer stands around the arena. It was a hell of a deal especially considering there was no line at the beer stands. Aside from the usual problems with concert sound in an arena, Magness isn't a bad place to see a concert.

Opener: Jerry Douglas. Due to extremely poor planning on the part of the Pearl Street Grill we didn't make it in time to catch Douglas. Come on, you are a restaurant and bar mere blocks from what is becoming a more and more popular concert venue and you can't be bothered to check the schedule and call in more staff. The excuse of "we didn't know about the concert and only have 2 servers and 2 cooks on tonight," didn't fly well with our group as we waited for 45 minutes for our food. To their credit they did throw in a pitcher of Stella on the house.

Fortunately we did get to see a bit of Douglas and his Dobro mastery when he emerged for the final encore of Simon's set The Boxer. Douglas played along with Simon and his band and finally got the opportunity to solo right before the final verse. Matching the melody line note for note Douglas and his dobro added a haunting element to the classic.

Paul Simon: Paul Simon wrote the words "Everybody loves the sound of a train in the distance," almost 25 years ago and last night at Magness Arena I felt for a time that he had foreshadowed his own career. When the band dusted off this old favorite for one of it's only recent performances about a third of the way through the evening, I have to admit that I was a bit unhappy with the show. I was second guessing my great memories of the 3 other times I had seen Simon, and feeling like I'd "been had" by my own memory. Like loving the sound of a a train in the distance but being horrified by it's thunderous roar as it rushes by you, had I romanticized my other Paul Simon experiences? At that point in the show I had to say "yes."

Let me recap what led me to that conclusion. The show opened with what should have been a powerful one-two punch of "Gumboots" and "The Boy in Bubble" off of Simon's 1988 masterpiece Graceland. However, the band seemed flat, no one in the audience had any energy at all, and quite frankly I blame all this on the fact that the sound couldn't have been worse. Simon's voice was hidden under layers of reverb and echos and you couldn't tell the keyboards from the guitars. This is what a sound check is for gentelmen! Fix the problems before the band takes the stage and if you do have to do a little tweaking (as is expected) do it right away during the first verse of the first song. It shouldn't take 3 or 4 songs to get sound issues ironed out. I assume Simon is travelling with a profession sound crew and not hiring kids from local garage bands to do his sound. Bad sound may be a pet peeve of mine, but if I am paying $80 to see a concert I fully expect the sound to be, at worst, tolerable.

It wasn't until about 4 songs into the set, as the instantly recognizable drums of "50 Ways To Leave Your Lover" broke through the wall of the mud that was the soundstage at this point, that the audience showed any signs of life. This was the beginning of a long road up for Simon and his band as they tried to climb out of the deep hole the sound crew tossed them into.

A veteran performer it was clear that Simon was up to the challenge and he was going to do his best to win over even the harshest critics in the crowd. They really seemed to feed off of the energy that the crowd was starting to show and really got things going when they took us back to the 50's for a old time rock-n-roll version of the classic "Me & Julio Down By the Schoolyard."

With the sound problems finally fixed (for the most part) and the crowd's energy level rejuvenated I began to remember why I shelled out my $80 to see him again. The first highlight of the night came a little before the halfway mark when the first few notes of "Duncan" rang out. Always one of my very favorite Paul Simon songs, it was a thrill to see him perform it live. Lyrics like "Holes in my confidence, holes in the knees of my jeans," and "well I told her I was lost and she told me all about the Pentecost," have been burned into my memory since I was in middle school. "Duncan" is, in my opinion, one of Simon's most well written songs. The genius of making up words like "destituted" to suit his purpose and rhyming "hock it" with "pocket," are marks of a truly creative soul.

"Outrageous," "How Can You Live In The Northeast" and the solo encore of "Wartime Prayers." were the three songs that Simon chose to weave into the set from his most recent effort Surprise. There were a few cheers for the new numbers but sadly they largely served as opportunities to run to the bathroom for most people. Simon has an established and well loved catalogue of music and unfortunately most of his fans just aren't at a point in their lives where they are broadening their horizons anymore. Surprise is an album that shows the youth of Simon's mind and his love for music. He has been reinventing his sound for decades and his reliance on the ambient soundscapes created by Brian Eno on the new album yeild truly rewarding results that proves he is still the musician he was all those years ago.

Simon reinvented a couple of his old favorites throughout the night both intentionally and unintentionally. He dumbfounded most of the capacity crowd when his band turned up their amps and rocked through the coda to "Bridge Over Troubled Water" and a fantastic new arrangement of "Diamonds on the Soles of her Shoes" brought the crowd to their feet to close set that steadily gotten better for me. On the unintentional side, both Lindsay and I noted that he often seemed to come in early or late causing him to alter the phrasing on many of his songs. New arrangements of older tracks I understand and respect, but outstanding phrasing is one of the many things that have made Simon one of the best songwriters of the last 100 years. Maybe 30 years of singing the same songs is taking it's toll.

In perhaps his most moving and spot on performance of the night Simon wowed the crowd with a stellar rendition of "The Only Living Boy In New York." I recently read that Simon introduced the song this summer in Connecticut by saying that he had forgotten about it until he recently saw Garden State. He didn't introduce it to us that way, and in fact he spoke very little from the stage the entire evening, but maybe the freshness of the song in his mind brought him back to a time when it was new to him. Back to a time when he sang it with the passion that one has when they are knee deep in the creative process.

Though he wasn't very personable from his perch up there on the stage, and he may not have nailed every song, it was a hell of an evening. Simon is a legend for so many reasons and there is something about being in the presence of greatness, even if it isn't as great as it once was. To use his words "oh, what a night, oh what a garden of delight, even now that sweet memory lingers," and it will linger for years to come and next time Simon comes to town I'll be in line early to get my tickets. Maybe he'll become the train in the distance that he wrote about 25 years ago but along the way he's helped to make some wonderful memories.

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

Overall: B

Labels:

Tuesday, October 10, 2006

REVIEW: Kasabian - Saturday October 7th 2006 - Gothic Theatre, Denver, CO

The Scene: To be honest the turn out was weak. No wonder more bands of this nature don't come through Denver on the weekends. Kasabian, already huge in the UK and hot on the heals of the release of their second album Empire, should be selling out venues like The Gothic, however they aren't in Denver. There were a few soccer jerseys in the crowd as one would expect at a Kasabian show and those who showed up were largely familiar with the music. By midway through the set the crowd's energy was building and by the time they left the stage Kasabian had the crowd whipped up into a small frenzy.

Opener: onethousand pictures. To be honest we walked in with only 2 songs left in their set so I wasn't really able to form an opinion of these guys. From what I saw they had tons of energy and were playing their hearts out for the fairly empty room.

Mew. Again I wasn't paying a heck of a lot of attention to these guys but the screen that they had behind them played some interesting animations throughout their set. Kasabian could learn a little bit about production values from them. They had the benefit of playing later in the evening so the crowd had a chance to fill in a bit throughout their set and they surely won over some of the crowd.

Kasabian: After stripping all of the backdrop away and leaving only a bare black wall half covered with a black curtain Kasabian took the stage at 10:45. They opened with the second track off of their recent release Empire launched into an extremely energetic set that really took off with Reason Is Treason from their debut album.

Frontman Tom Meighan danced and gyrated his way around the stage as he belted out lyrics that are, in all honesty, a bit contrary to his slightly flamboyant stage presence. Without letting that get in the way the band pumped the gothic full of their bottom heavy sound and riled up the crowd with hits such as LSF and Processed Beats from Kasabian and newer tracks "By My Side," "Sun Rise" and "Stuntman" from the Empire release.

Guitarist Sergio Pizzorno shared center stage with Meighan and added harmony vocals, and some wicked guitar licks throughout the evening. By the end of the 90 minute set the crowd was in great form, letting the band know what they thought of the digitally enhanced 21st century rock-n-roll that Kasabian has pioneered so effectively.

I look forward to Kasabian's next tour through the US and hope that they ratchet their stage show up a bit and add some more visual elements. The first time they came through the US their light show was overpowering and while that was a little intense, it complemented the agressive tone of the music very well. They are a young band and if they continue to push forward and stay under the wing of Brit Pop superstars Oasis their star will continue to rise.

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

Overall: B+

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Sunday, October 01, 2006

REVIEW: Eric Bachmann & Richard Buckner - September 29th, 2006 - The Walnut Room, Denver, CO

The Scene: We showed up at The Walnut shortly after Jonathan Byerly left the stage and I was suprised at how full the room was already. It's limited capacity (250) was part of the reason but a significant crowd of hipsters and preppy 30 somethings had turned out in force.

Between Urata and Buckner's sets Lindsay and I grabbed a couple of sandwhiches and I've got to say they hit the spot. I don't reccommend the pizza, but if you are hungry I'll put in a good word for the Italian or Turkey, Bacon, Guac subs.

When Buckner left the stage it was a bit disappointing that a third of the crowd headed off to bed. I understand that an 11:30 start time for a headlining set is late, but those who left missed out on a fantastic set from new Colorado resident Eric Bachmann.

Opener: Nick Urata. As frontman for Denver based band Devotchka, Urata has perfected his crooning style and gathered his share of cooing female fans. Without the band behind him, we were treated to a sensitive performance that showcased Urata's vocal prowess as he accompanied himself ably on guitar. An indie rock Sinatra of sorts, his set would have been well suited to have an old Bogie and Bacall movie as a backdrop.

Richard Buckner: Buckner was clearly the draw tonight and while I think his recent album Meadow is a decent folk-rock record, I wasn't thrilled with his performance. Though Meadow features a full band, Buckner chose to tour with only ex Guided By Voices guitarist Doug Gillard. As a result the songs featured from the new album were signifcantly rearranged to suit the two guitar line-up.

The room was packed for the duration of his 60 minute set and he treated fans to selections that spanned his 8 albums. His edgy folk sound lies somewhere between David Wilcox and Pearl Jam without the intrigue of either. The songs just never reached the peaks that they seemed destined for and left me a little unsatisfied. As my friend Dan put it "his songs were really like the first minute to a Pearl Jam song...interesting and good, but then there were no guitars, catharsis, crescendos and drums to take it up a notch."

Eric Bachmann: Bachmann came on at about 11:45 and while this may have been late for some, I will never know how you can walk out on this guy. He has such command over his material and in a very calm yet intense way, he demands your attention. Early in his set Bachmann showcased the two gems of his recent release To The Races, Carborro Woman and Man O' War before settling down into a set that included fan favorites New Drink For An Old Drunk, Broken Man and You Must Build a Fire.

He shared the stage for the duration of his set with two women; Kate O'Brien and Miranda Brown who sang background and played Violin and Keys/Drums respectively. The haunting harmonies the three wove were beautiful, however their contribution with regard to instrumentation was negligable. Bachmann has been touring solo recently and I would have been just as happy had he continued that trend.

The one sad thing that came out of this evening was the realization that though he has recently relocated to Colorado, Bachmann wouldn't be playing here any time soon. He is headed off across the Pacific to Asia to feed the travel bug that haunts his soul. All we can hope for is more music of the caliber of To The Races and some homecoming shows in March or April of next year.

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

Overall: B+

Labels:

Thursday, September 28, 2006

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+

Labels:

Wednesday, September 27, 2006

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

Labels:

Thursday, September 21, 2006

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+

Labels:

Tuesday, September 19, 2006

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+

Labels:

Thursday, September 14, 2006

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+

Labels:

Thursday, September 07, 2006

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+

Labels:

Monday, September 04, 2006

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

Labels:

Thursday, August 31, 2006

REVIEW: Folks Fest - August 18-20, 2006 - Planet Bluegrass Ranch, Lyons, CO

The first thing I have to do in this review is thank the wonderful people at Planet Bluegrass for putting together such an amazingly well run festival. Everything runs like clockwork, food and beer prices are low, people are kind, the sound is great and the venue . . . well that is another story all together. Suffice it to say that it is easily within the top 10 most beautiful venues in this country (and I am counting places like Red Rocks, Telluride, The Gorge, and the Britt Pavilion to name a few). Nestled along the St. Vrain River under the majestic Red Rock cliffs of Lyons, CO, the Planet Bluegrass Ranch plays host to 3 major festivals every summer. Rocky Grass in July, Folks Festival in August and The Festival of Mabon in September.

This was my second trip to the Ranch in 6 years of living in Colorado and I am kicking myself for not going more often. The place is designed specifically to host festivals. There is a nicely layed out area for food and crafts, a separate stand for beer, wine and mead service, a tented second stage and tons of activities for children. It really has something for everyone. There is even a beach area where you can wade into the river to cool off in the heat of the Colorado sun.

The festival seating area consists of four well defined and organized sections. There is a "backstage" area that allows ticket-holders to access an area of seating directly in front of the stage that is off limits to the general public. Then there is a large field dotted with cottonwoods where festivarians can spread tarps and gather with friends on blankets and in "low-backed" chairs (Planet Bluegrass defines low backed as anything you can't roll a basketball under). Behind this area is a section where high backed chairs are permitted and then behind them are the tents and sunshades. The set-up works very well and allows for great site-lines from all parts of the ranch. Be forewarned, people start lining up at midnight to get their tarps up near the front for the next days shows. The beauty of it is that once you have your spot up front, you don't have to worry about losing it. Everyone is very respectful of space and the staff does their very best to prevent people from standing in front of you.

The stage itself is a beautiful wood structure with a permanent roof that keeps off those afternoon showers and allows music to continue uninterrupted all day long. The back of the stage is open to allow for the breeze of the day to filter across the stage and ruffle the leaves that serve as a backdrop to the performers. I think that every performer I saw took time out of their set to acknowledge the beauty that surrounded them and tell us how lucky we were to have such an amazing venue in our state.

We are certainly lucky to have such a venue, but the fact that we have the opportunity to see performers such as: Jeff Tweedy, Kris Kristofferson, Ani Difranco, Mindy Smith, The Waifs, Martin Sexton, and The Assembly of Dust at that venue makes it all the more remarkable.

The festival began on Friday and while I wasn't able to make it, I heard from reliable sources that Wilco’s Jeff Tweedy put on a memorable show to wrap up the day. Having seen his solo set in the past I am sure that the respect the Planet Bluegrass audience pays to performers suited him very well.

We woke up Saturday to a dreary morning but by mid afternoon the skies had cleared and the sun was shining on the nearly 3,100 in attendance. After a mediocre set by Issa (formerly Jane Siberry), the meat of Saturday's line-up was upon us. Veteran songwriter Guy Clark took the stage with long-time friend Verlyn Thompson. Both men played guitar and Thompson sang back-up on some classic Clark tunes such as Homegrown Tomatoes, Old Friends and The Randall Knife. Two thirds of the way through the set Clark yielded the stage to Thompson who picked up the pace a little bit and wowed the crowd with three originals of his own. He had people buzzing all afternoon about his solid guitar work and vocals that brought to mind fellow Texan Joe Ely.


Following Clark's set we made our way over to the tented Wildflower Stage just in time to avoid the only downpour of the weekend and to catch a little bit of the Songwriter Showcase song circle. Iain Campbell Smith was the highlight of this group for me. The three songs of his we heard caught us off guard with his Australian accent and clever lyrics. Between the lyrics and his goofy grin, he had the whole tent laughing and clapping along. Just the thing rain soaked fans who crowded the edges of the tent needed, I'm sure.

As we left the tent and wandered back toward our spot up front, the sounds of Canadian folk rocker Kathleen Edwards drifted through the venue. Having seen Edwards several years ago I was interested to see how she had matured as a performer. To be honest I don't really understand her appeal. Sure, some of her songs are catchy and 6 O'clock News had some potential as a radio single, but overall I found her performance to be a bit flat. She did however; get my attention when she broke into Neil Young's Only Love Can Break Your Heart.


Next up was a highlight of the weekend for me, The Waifs. Hailing from Australia they were the first band I ever covered more than three years ago, and while they still sound great, they have gone through some changes since then. The line-up is the same, but sisters Donna and Vikki Simpson have each had a baby in the last year. In fact as Vikki revealed on stage they were pregnant at the same time and even due on the same day. They may be new mothers but their energy hasn't fallen off a bit on stage. Vikki's harmonica solos are as fiery as ever and Donna voice is still as sweet. Their set offered some new tunes, some of the blues that stellar guitarist Josh Cunningham injects into the group, and of course favorites such as Lighthouse and Fisherman's Daughter. As the dark crept in and The Waifs left the stage to a standing ovation, we all knew who waited in the wings.


A half hour later, at the stroke of 9 o'clock Andy Schneidkraut of Boulder’s Albums on the Hill record shop introduced a man who needed no introduction: Kris Kristofferson. Without so much as a "Hello" to the crowd, Kristofferson launched into a set that made you realize why the man is a legend. He may not have the singing voice he once did and I won't argue with the guy I overheard saying his E-String was a little flat, but his songwriting is what he is known for. If The Last Thing to Go, off his new album is any indicator, he hasn't lost a step. Peppered with hits such as Sunday Morning Coming Down, Darby's Castle, The Silver Tongue Devil and I, The Best of All Possible Worlds and of course Me and My Bobby McGee his 90 minute set taught us all a thing or two about songwriting. Though he was not very talkative and ended each song abruptly with a mumbled "Thank You," Kristofferson nodded to Janis Joplin several times, acknowledging her version of Bobby McGee as one of the things that elevated his stature on the pop culture landscape.


The final day of Folks Fest dawned bright and sunny and it was again a breeze to get into the festival and set up our home base. With a stellar line-up in front of us we set out to fill up on some food and sample the mead from the local Redstone Meadery. The short lines and reasonable prices were again welcoming and a Greek salad hit the spot. After sampling several of the fine meads we decided that the Black Raspberry was the one for us and wandered around a bit before getting distracted by the music coming from the stage. Australian Paul Kelly had been playing for a short while and had just invited tour mates Vikki and Josh from The Waifs to join him on stage. While these are lofty comparisons, Paul has been referred to as the Australian Bruce Springsteen and his subtle melodies and phrasing suggest Mark Knopfler. He has been recording music since the late 70’s and his 75 minute set drew on new and old albums alike. He was new to me but I will certainly try to dig up a couple of his records. He was very well received and I am looking forward to hearing more about Paul Kelly in the future.

Being a transplant to Colorado from the Northeast, the next act to hit the stage was a long-time favorite of mine. Former Strangefolk member, Reid Genauer, and his band, The Assembly of Dust, were about to give the Folks Fest crowd a glimpse into the Jamband world. Genauer was a perfect choice for the festival as his intricately crafted songs paint pictures in your mind nearly as well as anyone else on the Folks Fest bill (yes Kristofferson is in his own league). Lyrics such as "Sipping beer on aging porches, Crooked walls, built before my birth," led Glide Magazine to call him a "Verbal Photographer," and that sums it up quite well.

The Assembly of Dust's set included several tracks of their most recent offering, An Honest Hour, including Man with a Plan, Honest Hour, Bus Driver, Fountain and a set ending version of Speculator that wove in verses of Neil Young's seminal classic, Comes A Time. Early in the set a rousing version of The Band's Up On Cripple Creek drew a big reaction from the crowd and really filled up the dancing area by the river. I think that this gig introduced A.O.D. to a very accepting new audience who will be happy to welcome them into their hearts and CD collections. I heard Genauer commenting backstage later in the afternoon that they had sold nearly every copy of Honest Hour they had brought with them. Well Done!


After a sweat soaked A.O.D. left the stage and headed to the country store to sign some autographs, one man band Andrew Bird took his spot behind the mic and proceed to wow the crowd with his expertise at layering and looping as he played a variety of instruments to create a set of original, and if nothing else, very creative songs. Bird's star has been rising recently and while I was glad to see him perform so I could make my own judgment, I don't think I'll be rushing out to purchase his material or see him live again any time soon. In my opinion he would have been better off had he played before A.O.D. and let their classic rock infused sounds melt into the Canadian country rock of Blue Rodeo.

Blue Rodeo isn't really my thing either and I was largely backstage taking advantage of the dollar beers and the shelter of the hospitality tent. However, I have to say that they had the attention of the crowd. In Canada they routinely sell out 20,000 seat hockey arenas and have a very loyal following. They aren't as big in the States but that might change. For better or worse, country music is incredibly popular and these guys are talented and do have a catchy sound. Keep your eye on Blue Rodeo if you are a fan of Robert Earl Keen, Old 97's or Delbert McClinton.


At this point in the weekend things were starting to wind down, people were packing up tents and the better food was running low in the vending area. However, no one was leaving. In fact I think people were still arriving with two of the most charismatic performers on the bill still to perform.

Martin Sexton had spent the hour or so before his set hanging with the boys from A.O.D. and that seemed to warm him up just fine as he came out full of contagious energy. Backed by only a drummer, Sexton bounced all over the stage plucking out his unmistakable rhythmic melodies. Just three or four songs into his set the entire audience was on their feet for the first time all weekend. Sexton kept the audience going for a bulk of his set by keeping the tempo upbeat. His ditty Diggin' Me about what's good about a first date got laughs out of good natured crowd and perennial favorite Angeline did not disappoint. By far the most spirited set of the weekend Sexton got the capacity crowd of 3,600 fully warmed up for the woman they had come to hear; Ani Difranco.


We had spotted the newly pregnant Difranco backstage and hanging out in the river earlier in the day with Donna from the Waifs. 11 years since she last played the Folks Fest, it was clear that she enjoyed the warm friendly environment that surrounds the festival. She took the stage at 9 to a thunderous ovation. Seating etiquette had unfortunately been brushed aside as people pushed forward to get the best view possible at one of Difranco's few gigs of the summer. Flanked by percussionist extraordinaire Mike Dillon and bassist Todd Sickafoose she opened her 18 song set with God's Country, clearly a nod the beautiful night and venue. Throughout the 90 minute set she showcased several songs from her new record, Reprieve, including Half-Assed, Decree, Unrequited and the festival closing Hypnotized. Difranco is truly a great performer I can’t deny that, but it was Mike Dillon's contribution that really caused me to take notice. His sparse percussion complimented her songs perfectly and he accented her melodies expertly on the Xylophone.

While Difranco's set was a great way to wrap up over thirty hours of music in one of the most beautiful venues there is, The Assembly of Dust, Martin Sexton stood out a bit more to me. However, I can't stop thinking about the power of Kris Kristofferson's Saturday night performance. There is something about seeing those songs sung by the man who wrote them that will stick with me for years to come.




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

Overall: A

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Wednesday, August 30, 2006

REVIEW: Bonnie Raitt - August 29th, 2006 - Red Rocks, Morrison, CO

Scene: This show might well have been sold out. It was packed to the top of the amphitheater. The average age was probably a little over 40 with all sorts of people represented. There were bikers, hippies, preppy people and just about everyone in between. Bonnie sure has a diverse fanbase. The weather was beautiful about 70 with a slight chill in the air. Perfect late August night.

Opener: Keb' Mo. I have been listening to Keb for more than 10 years now and while I think his more recently albums don't highlight his strength in acoustic blues, I love seeing him perform live. His set was about 50 minutes and concentrated on material from his new album Suitcase. It was a strong set and after the first few songs he really loosened up and began to show his trademark charm. Toward the end of the set he picked up the pace and really got the crowd going with some scorching solos. The standouts in his tight five piece band were the bassist and the harmonica chops of his touring keyboard player. As he left the stage to a standing ovation the road crew brought out two chairs. As I expected Keb emerged seconds later hand in hand with Bonnie Raitt. Each played acoustic guitar trading licks and verses on one of my favorite Keb Mo tunes: Every Morning from his first album. Our first taste of Bonnie's voice for the night proved to me that she hasn't lost a step since she first played Red Rocks back in 1976, in fact her voice may be better than it was early in her career.

Bonnie Raitt: The lights went down about 8:45 and Raitt and her band took the stage to a thunderous ovation. Dressed a flowing blue blouse that called to mind Dolly Parton, they opened the show with "Roadrunner," an old blues tune by Jr. Walker. That just gave us a taste of the blues she would serenade us with for the next hour and 45 minutes. Raitt and her band were having a great time all night, whether they were raging through a stomping blues tune, forgetting a lyric or berating President Bush, it was all smiles.

In my book keyboard player Jon Cleary would have stolen the show had it not been for the legend he shared the stage with. His New Orleans piano and Hammond B3 solos thrilled the crowd and had Raitt singing his praises all night. (His own band, Jon Cleary and the Absolute Monster Gentlemen, is well worth the price of a ticket you ever get the chance). He got the chance to show off his vocal skills on a couple of tunes including a duet with Raitt on "Unnecessarily Mercenary" a track from her latest album Souls Alike. His own "Fools Game" was dedicated to anyone in the audience who had been a "fool in love."

Midway through the set Raitt acknowledged the anniversary of Hurricane Katrina hitting Cleary's home town of New Orleans and dedicated "God Was In the Water" to all of the victims and survivors of that terrible storm. Raitt made another, more difficult, dedication shortly after when she dedicated "Nick of Time" to her parents whom she recently lost. While her voice didn't crack once, she could be seen wiping tears away as she sang. The emotion that came through in her voice throughout the show frequently had members of the audience wiping away tears of their own. Despite this she got the crowd up on their feet and dancing several times throughout the night with songs like "Something to Talk About" and my personal favorite "Papa Come Quick" off of her Luck of the Draw album.

An emotionaly charged and highly energetic show came to an end with Keb Mo joining Raitt and her band on stage. Their enthusiastic and playful cover of Wilson Pickett's 634–5789 was an upbeat way to send the crowd off into the night.

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

Overall: A-


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REVIEW: Wolf Parade - August 28th, 2006 - Fox Theatre, Boulder, CO

Scene: SOLD OUT! Crowd was largely college students just back from summer with a smattering of late twenty and thirtysomethings. Definately a different vibe than had the show been in Denver but people were really excited for the show and the energy in the venue was great.

Opener: Frog Eyes. Wolf Parade Keyboard player, Spencer Krug's other band. I knew almost nothing about these guys and was pleasantly surprised. Their lead singer (Carey Mercer) posseses an almost superhuman energy and passion for performing. Looking like his preshow routine includes downing about 10 cups of jet black coffee Mercer sings through tons of distortion and effects creating an almost dreamlike soundscape of words, yodels and other vocal stylings that layered beautifully on top of the bands high energy fast paced pop punk sound. It is clear that these guys have the energy and passion to make a great record, now I just have to get one and see how the energy comes across in the studio. Overall a great opening set from Frog Eyes.

Wolf Parade: I got an email from a friend of a mine a couple of weeks ago that said "Wolf Parade: These guys hit their instruments so hard." It's true . . . it is a loud show that is short on subtlety. While the sound in the Fox is generally amazing, I lost some of the lyrics during the Wolf Parade set. It was almost as if the vocals weren't high enough in mix or maybe everyone else on stage was just making too damn much noise. That being said these guys put on a solid show. Clocking in at 1 hour it was on the shorter side, but then again, what can you expect from a band with only one album. In addition to You Are A Runner and I am My Father's Son, Modern World, Shine A Light and Dinner Bells (with help from Frog Eyes) from the Apologies to the Queen Mary CD they also tried out a couple of new songs. In general the new material was solid but Krug's experiments on the acoustic guitar left a little to be desired. Using it as more of a percussion instrument than a guitar I think the bands sound is better off if he sticks to the keys where he clearly adds depth to the sound.

While clearly influenced by fellow Montrealers The Arcade Fire, Wolf Parade lacks the majesty of The Arcade Fire in both sound and performance at this point.

Wolf Parade are on the rise, they are a young band with good songs, lots of energy and a solid fan base. If they can clean up their live sound a little bit I think they will capitalize on all the buzz and stick around for a bit.

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

Overall Rating: B

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