just what i needed

It took a while, but I finally pulled the trigger on a SoCal trip to see my favorites. As it turned out, it wasn't a bad time at all to see Jon Brion at Largo at the Coronet.

Jon Brion, Largo at the Coronet, October 25, 2019

I've actually been in SoCal for a bunch of things this year, but strangely, none has been a Jon Brion show. On a relatively late whim, I decided to pull the trigger and come back to my home away from home.

Of course, I have no idea if Jon's favored the spare or the loaded stage recently, but tonight's setup was stark: all of four guitars and a couple of keyboards. I'm up for all of it, but I have to admit I'm a little relieved some times when the video screens aren't up. I appreciate the glimpse they give us into Jon's creative process, but mostly I want to hear the magic delivered directly from his touch.

Per usual, Flanny introduced Jon, but in his stead, Zach Galifianakis emerged from the side entrance, walked across the stage without a word, and sat down at the piano, where he played freeform for a minute or two. Jon showed up soon after and tapped him on the shoulder. With about equal fuss, he left the stage. Jon picked up where the guest left off, but Zach made one final appearance, as he silently walked across the back of the stage, fixated on his phone, looked up, did a double take, abruptly realized we were watching, and scurried back offstage. It was lovely to see him back.

Jon immediately asked for requests after his warm-up and went with "Here We Go," which -- in case I haven't mentioned it lately -- is a perfect song. I got in the second request for "That's Just What You Are," my typical classic callback. In fact, I thought a lot about my requests for the evening, but you can hear more about them later.

My muscle memory with Jon Brion concerts is nowhere near its peak levels. Though I made a point to put a notebook and a pen in my bag, the pen soon started running out of ink. I managed to scribble spare notes, but had to skip the details to spare what little ink I had at my disposal.

From there, Jon broke into another instrumental piano break before coming back to "Over Our Heads," using one of the small keyboards that always comprise his setup. He followed up with what sounded to me like two distinct piano pieces: one jazzy, the other sweeping and more linear. Alas, that's all I can tell you about them.

Jon then asked us to name a key, a style, and a song. It was kind of a Dr. Frankenstein moment, if you will. I love these mashups, and I was happy to see Jon flexing his unique genius. First up was F sharp minor (I think) plus the Velvet Underground (my request) plus "How Soon Is Now." As Jon commenced, I started to wonder if the Smiths song was already an homage to the Velvets? You can kinda hear it, right? It didn't really matter, as Jon decided to mimic Nico's vocals -- to not great effect, as he admitted -- instead.

The second song combined G plus prog rock (Jon promised the song would go for 35 minutes) plus "Monster Mash." I love this for many reasons, particularly because I've been requesting "Bela Lugosi's Dead" (with no success) whenever I'm in town for a show close to Halloween. I'm all for Jon giving in to seasonal cues, and "Monster Mash" should happen more often. Jon cut it off before it came anywhere close to double digits in length, but he delivered on the other prog rock signifiers, including lots of reverb and flashing lights, courtesy of the magical elves in the sound booth.

He next turned on a drum machine, which provided an easy lilting beat. I want to call it bossa nova, but that's probably not right. Just imagine a pleasing, swaying beat. Jon proceeded to build up a song from it, and what do you know? It was one of his own classics, "Same Thing." Jon is known for recasting his songs left and right, but it was a reminder that no song is sacred, and every single one can be reinterpreted, remade, and reworked. Honestly, it's a song! And if a remake bothers you, you can probably still listen to the original!

Jon finally moved to the guitars and took a request for "I Just Wasn't Made for These Times," with a helpful reminder from the requesting audience member on the lyrics. Jon did the rest. He stayed with the guitar for the Billie Holiday standard and for his own "Why Do You Do This to Yourself." The latter featured a ton of fuzz guitar, and in my humble opinion, his voice sounded particularly great on that track.

It was back to the piano for a long, jazzy, gorgeous tune. Such is my lack of knowledge that I searched my brain for what it could've been, and the only song that my mind latched on to was "Rhapsody in Blue," though I knew it wasn't right. Fortunately, Jon said so himself at the end. It was "Mood Indigo" -- so at least I was in the right color family? It was indeed rapturous, and I wish my brain could retain these things more effectively.

We rounded out the rest of the night with requests, and I gotta say that the audience did well here. I can be a music snob, and one of my complaints about this iteration in Jon's shows is that the requests can often be banal. (Please stop with "Freebird.") But the relatively intimate crowd at this night's show brought some good ones, at one point inspiring Jon to remark that he and another audience member should form a Dizzy Gillespie tribute band.

My favorite request, though, was more populist: "Jump" by Van Halen. I had actually requested it earlier that evening, but either Jon hadn't heard or it wasn't the right time. Still, I'm glad it came out, even if it quickly became apparent that none of us knew the words other than the chorus. Jon ran with it and segued into a synth-heavy version of "Running with the Devil," which moved him to say it reminded him of Avalon -- and he even did a line or two in a Bryan Ferry inflection! Happy Halloween to all!

Jon closed out the main set with a request, and it was lovelier than I could've imagined. "Just What I Needed" is a relative staple of Jon's set, particularly as a celebratory singalong. But this time, Jon took the opportunity to remind us that it's a great piece of songwriting, and though he didn't say it, he offered us a chance to remember the late Ric Ocasek. I'm not going to look into it too much, but it's probably not a stretch to imagine Jon has some links to Ric since both have ties to Boston (the city, not the band -- that I know of). Tonight, Jon turned it into a warm piano ballad that tore into your heart, while still allowing us to nail the chorus. See what I mean about songs not being sacred?

Jon returned for an encore and listened to our requests for a long time as he decided on the perfect closer. He wanted to end on a happy note as a contrast to what he considered a moody show. (I disagree.) He shot down "Hey Jude" because he said we only knew two words, and we eventually went with "God Only Knows," the perennial Largo favorite. I have no complaints -- the room sounded great, and it felt like a group hug in a way I can't recall feeling at Largo in a little while. As Jon knew, it was a perfect choice and the perfect send-off.

See you again in December.

- Zach Galifianakis cameo
- Here We Go
- That's Just What You Are
- piano
- Over Our Heads
- jazzy piano
- sweeping piano
- How Soon Is Now
- Monster Mash
- Same Thing
- I Just Wasn't Made for These Times
- Fooling Myself
- Why Do You Do This to Yourself
- Mood Indigo
- Highway to Hell/Back in Black
- Sesame Street
- Spinning Wheel
- Jump/Running with the Devil
- Just What I Needed

encore
- God Only Knows

poetry and magic

Does anyone blog anymore? For now, yes, so here's what I saw while in New York for Wilco at Brooklyn Steel.

Wilco, Brooklyn Steel, October 13, 2019

I've actually been to a show or two since my last post, but I don't want to write about them. Also, a lot of baseball happened this summer, and there was a big vacation. But back in June, when tickets to this show went on sale, I knew it was the perfect storm of schedule, venue, and location. I may not be as prolific a rock tourist anymore, but I know a good opportunity when I see it.

Wilco played Radio City Music Hall the night before, but that was also a no-brainer. I skipped that one, without a moment of consideration. In my experience, the big, hallowed, historic halls don't do it for me. Give me a general admission venue like Brooklyn Steel every time. Also, as a seasoned rock tourist, I'm acutely aware of the rule about second shows (they're almost always better than the first).

Back in the day, I saw a lot of shows in New York City, some of which were the most memorable of my life. On many of these trips, I was able to not only visit but crash with my best friend. This trip was no different, and also like back in the day, I was dragging her along to this gig. (As a reborn music nerd, she acquiesced.) In fact, as we stood outside the theater after seeing Mean Girls (the musical), we realized that not only were we at the site of her old office building, Paul and I had met there 17 years ago when he sold me his extra ticket to Wilco's show at the late, great Roseland. Time is a flat circle!

Anyway, the good news is that Brooklyn Steel is a lot cooler than what I recall of Roseland. The stage isn't a million miles high, and the front feels quite comfortable. I'm told Wilco couldn't bring its ornate stage decor to this club, and I'm OK with that. In fact, it looked like there was barely enough room to hold Wilco's pedals, effects, and equipment. I think this is the first time I've seen Glenn's face at a show in a long time!



Obviously, Wilco has a new album out, Ode to Joy. Such is the retail music market these days that I didn't have a chance to buy the album until the day before the show, and even that was a digital download. And yes, I still buy music, as opposed to listening to it on Spotify or whatever. In all, I probably listened to the record twice before the show and came to the show with almost no expectations.

One of the biggest takeaways from both the record and the show was Glenn's role. On stage, he had new implements that you'll likely never see with any other rock musician. His touch is all over the album, and it was a blast to see him translate it to the live show. I have no idea if those nuances carried to the farther corners of the room, but up front, you could hone in on the latest effect while watching Glenn work his latest contraption.

The standout new track for me was "Hold Me Anyway," reminding me a tiny bit of "Outta Mind (Outta Sight)" -- probably due to the sleigh bells. To me, one of the most prominent aspects of Jeff Tweedy's evolution as a songwriter is a fixation on death. Which is understandable! And darker lyrics have never deterred me, but my favorites tend to marry them to a jaunty tune. "Hold Me Anyway" is a textbook example of this combination.

The more amusing asides of the show include shout-outs to Paul (as the star of the delightful music video for "Everybody Hides"), Doreen (for her Gudetama phone case), and the kid who yelled out, "Schmilco!" To his credit, he wore a Schmilco shirt, so he was definitely walking the walk as well.

Paul contends we got the better setlist in Brooklyn, which is no surprise. Anyone could tell you they'd do the "hits" at Radio City. In essence, this meant we got deep cuts like "Hummingbird," where the audience sang along quite nicely, and "You and I." I remarked to Paul that I was surprised this was back in the rotation, but as it turns out, it's not really the case. I just happened to be at the only shows where they've done it recently (the other one being Solid Sound). They rounded out the set with the now irreplaceable "Impossible Germany," "Laminated Cat," and the Being There rockers. As a fan, I had no objections to their choices.

The kind of Wilco dates I like are less accessible for me, but I'll always jump on the chance to hit one of these types of shows. It capped off a fun early autumn weekend in New York City that I hope I can do again soon.

See also:
» catch the moon like a bird in a cage
» come with me