within you and without you

In case it wasn't already apparent, this is an exclusively Jon Brion blog now. With that, here's the January report. Also, I need to stay closer to home for a little bit, so someone else will have to supply the February details.

Jon Brion, Largo at the Coronet, January 11, 2024

I originally bought tickets to this gig when it was simply a Jon Brion show, but Largo updated the description to say Jon would be playing new music with Jay Bellerose and Jennifer Condos. I had a million questions following the change. First of all, what new music? Also, I was familiar with Jay Bellerose from his previous visits at Largo on Fairfax, including the time they covered "Band on the Run," per my request. After asking around, I learned that Jennifer Condos is Jay's wife, and among other achievements, they've formed Joe Henry's backing band for several years. I also learned that the trio had been working on Jon's new music (that is, unreleased tracks he's written since Meaningless). I still had no idea what to expect, but I was excited to find out.

The stage was well-equipped, but not with the usual array of artifacts, as with Jon's traditional show. Jennifer had a simple setup near the piano, and Jay's drum kit included a big copper kettle. There was one unusual-looking guitar that went untouched all night. Otherwise, Jon took up the other side of the stage with a couple of guitar racks and a slide guitar.

It quickly became apparent that this wouldn't be the easiest show to document, but I'll try my best, using the same format as I did with the Jon Brion/Nels Cline improv shows back in the day. Follow along!

Song 1: All I have here is that Jon played an electric guitar, and Jay watched him closely for cues. At points, Jay used brushes and his hands, but my main observation was that there were no vocal mics onstage. That is, they probably could've converted a couple of mics for voice purposes if needed, but not even the trusty piano had a vocal option. They plugged away wordlessly.

In a typical Jon show, this might've led me to wonder if they were going to improv all night, but I didn't get that feeling from this first track. This wasn't about mad scientist mode, though it was probably a glimpse into studio life. I knew intrinsically that chaos wasn't in the cards this evening.

Song 2: Maybe that hunch was borne out in the second song, which I recognized right away from my longtime attendance at Jon's shows. It was none other than his track "Croatia," which I used to yell out as a request when I sensed a show was becoming too maudlin and we needed a pick-me-up. I especially enjoyed the performances of this song with him and Chris Thile. Also, I've since visited Croatia since I first heard the track, so consider this a humble brag. Jon went to town on the guitar, and the bond between him and Jay deepened.

Song 3: I don't have much for this song, except for surf-ish guitar and an outro that reminded me a little of "Walking Through Walls." I'm not going to lie -- at this point, I realized we weren't getting much in the way of lyrics, so I put the pen down for long stretches of the performance.

Song 4: With this tune, Jon said "not all of these songs have titles yet," which confirmed all I needed to know. I should also mention he had a notebook or a clipboard onstage and referred to it between songs. That's what I mean by the lack of chaos. My only other note here is that they played this song at a languid pace. Make of that what you will.

Song 5: Jon picked up a six-string bass and said this "can mean only 1 thing -- Cole Porter [something] mambo." (Sorry, I can't read my handwriting.) Jay opened with a steady beat, not unlike a Johnny Cash train song, but they eventually brought it around to "Anything Goes." My first memory of the song goes back to Indiana Jones and the Temple of Doom, which goes to show you how music can hit you from anywhere. If that's what it takes to bring Cole Porter into our lives, so be it.

Song 6: Jon went to the piano, and I recognized the song immediately. It was "Punch Drunk Tack Piano," which is not only from the Paul Thomas Anderson movie, but also the old Largo website. The tune was the first thing you heard as soon as you landed on the page. Talk about indelible memories.

Song 7: Jon returned to the guitar rack and picked up a small electric. I think he said "Perky Hell" might be the song title or at least a temporary name. I'll say that this was a lovely tune that exemplified what he once called "unpopular pop." The song proceeded at a steady pace, and you could kind of hear where the verses and choruses might come in.

Song 8: Jon switched guitars and the crowd roared approval for the red-and-black Sith-pattern model he picked up. He also turned on one of the amps near the piano and said something to the effect of "if we're going to do big band songs, they have to be psych drum anthems." He also said this was for Flanny. That probably indicates it might've been a Duke Ellington classic or something along those lines, but I can't say. I will note that with the simple action of tapping her leg with the bass on it, Jennifer punctuated parts of the song with a cool reverb on the bass.

Song 9: My notes are simple in that the trio delivered a delicate, understated tune that could be track 3 on Side B of a record. At the end, Jon blew a kiss to Jennifer for her contributions.

Song 10: I took minimal notes on this, namely that the intro reminded me of the Beatles' "Sun King," the guitar was phenomenal, and Jon showcased his immense talent. Based on Largo's Instagram post, I think this was "Albatross" by Fleetwood Mac. In fact, I've heard Jon play this several times, but it's been a while. Regardless, it's a stunning composition!

Song 11: Jon checked the notebook before starting the song and commented that it was going to be in E minor and slow and that it desperately needs a title. I noticed strong bass and a smokey, noirish feel. Alas, I can't tell you much more.

Song 12: Jon finally sat down at the slide guitar and positioned the microphone for the first vocals of the night. He said he wanted something with "hip-hop New Orleans country blues," and after some Googling, I've determined that they played "Midnight" by Red Foley. I don't know what the other versions sounded like, but my guess is Jay and Jennifer added a lot to that swampy mix Jon requested. Jon contributed too with gorgeous and at times confusing guitar.

Song 13: For the encore, Jon asked the audience to name a key (which I failed to write down). Jon next asked Jay to provide a tempo, and he created a staccato beat, a series of short beats leading into each other. Jennifer backed him up, as Jon grabbed one of his hollow-body guitars. As with the Cole Porter song, they meandered musically before eventually landing on "Within You, Without You," and this most resembled Jon's traditional gigs. They went all over the place with this track, as is Jon's wont. On a night where we traveled to several places we hadn't been to before, it was the perfect landing spot.

Related shows
» the first one said to the second one there
» round midnight
» like a dream in the night
» i go for it every time
» the world will revolve

the end of the beginning

Happy new year! I was fortunate enough to catch the last show of the year at Largo, and you get 1 guess as to who was the headliner.

Jon Brion, Largo at the Coronet, December 24, 2023

Two months in a row! And spoiler alert: I'll be around in January too, but after that, I think I need to stay home for a little bit. For now, I'm reporting for duty.

I love these year-end Jon Brion shows, not necessarily because they're extravaganzas, though I've seen a few of those. I just love being able to wrap up the year with a performance by one of my favorite musicians at one of my favorite venues. These shows sometimes make you forget about all the bullshit that might have transpired during the year (though I have no complaints about the good stuff I was able to do in 2023).

The first sighting of the night was a drum kit, which I don't think we've previously seen during Jon's return to Largo. Otherwise, we still saw the vibes, guitars, and complicated wiring close to the piano. I'm not going to lie -- I was excited to rock.

Another holiday bonus: Flanny made the introduction! He had a mustache, a fuzzy green cardigan, and red pants. I know the big guy is always in the house, but it's nice to see his face and hear his voice.

Jon performed, in essence, a sound check upon arrival. He experimented with the mics at the piano a bit, and my notes say something about Andy Kaufman, but I can't recall what it means. Jon soon went into "Jingle Bells," which wasn't the last nod to Christmas for the night, then proceeded to a long piano exercise. I have some notes about "White Christmas" and maybe something from Eternal Sunshine of the Spotless Mind. This first official song of the night was "Someone Else's Problem Now," an original composition that has yet to be officially released. One of the fun things about Jon's return is the opportunity to get reacquainted with his unreleased tracks, and we got another dose with the next title, his own "Further Along."

Jon switched to acoustic guitar and went to a breathy, smoky track. Thanks to Google, I see that it was "I Concentrate on You," written by Cole Porter.

He asked for requests and chose "Walking Through Walls" on piano -- kudos to the audience member who stuck with a Jon-penned track. I sometimes fear that this song will drag a little, but that wasn't the case. He sprinkled a little of "Dance of the Sugar Plum Fairy" and maybe "Bohemian Rhapsody," though I know almost nothing about the latter. However, I easily recognized "Tainted Love," one of my teenage favorites. And good work by the crowd to add handclaps in the right places.

The tone switched a little with the next song on electric guitar, which started out slowly and dramatically. It took a little while for me to realize it was "You Don't Know What Love Is." I'll just note that it took about 15 minutes.

Jon next welcomed a drummer onstage, and at first only referred to him as "Griffin." Eventually, we learned he's Griffin Goldsmith, from the band Dawes. I don't know anything about Dawes, other than they're from Los Angeles. Sebastian Steinberg also joined them.

Jon asked for requests and a million names flew out, so we had no idea which song he had chosen. But he started the song by pantomining a rhythm at Sebastian and Griffin. I had no idea what it meant, but it was a cool peek into what the studio experience might be like with Jon. He then went to the piano, and the three of them settled on the rhythm he wanted for the perennial favorite "Moonage Daydream." Jon played with one of the vintage keyboards for the bridge, and they coaxed a bass solo from Sebastian. This also went for about 15 minutes, though with a different tenor.

Griffin started the next song, by Jon's request, and he set down a fairly straightforward rock beat. Sebastian did his thing, and Jon added bluesy electric guitar riffs. I started jotting down the lyrics with the intention of Googling them later because I didn't recognize the song at all -- that is, until he dropped the name MTG. It turned out to be a totally spontaneous composition, which is always a delight and something you kinda hope for at a Jon Brion show.

Jon returned to the piano for his more traditional "The Way It Went," then shifted to vibes, while requesting a 6/8 rhythm from Griffin, for "Mood Indigo" (in G). I wouldn't have known the latter if Jon hadn't mentioned it under his breath at the beginning.

The guests left and Jon went into another original track on piano, and I'm going to admit that I don't like this one a whole lot. I think the chorus is something along the lines of "that's what people do."

For the encore, Griffin and Sebastian returned -- and they did my request! I hadn't put much thought into it, but when the opportunity arose, it seemed so obvious to end the year with "Tomorrow Never Knows." Jon said something about wanting to do a "hip-hop version," and I picked up some classic Dr. Dre "Still DRE" piano notes, but I'm not sure about the overall hip-hop rating for the song. But Jon's preference for the song reminded that in this stage of his career, he might be best known for his work with the late Mac Miller, for which he continues to receive accolades. He changed one lyric to "It is not Christmas," and overall, it was as chaotic and cathartic as you hope.

As I write this, it's 2024, and let's hope that Jon will be a staple in the coming year. In fact, he'll be in Chicago on Valentine's Day for a screening of the aforementioned Eternal Sunshine. I hope someone who might read this blog can go!

Setlist
piano
Someone Else's Problem Now
Further Along
I Concentrate on You
Walking Through Walls
You Don't Know What Else
Moonage Daydream*
improv blues song*
The Way It Went*
Mood Indigo*
That's What People Do

Encore
Tomorrow Never Knows*

* = with Griffin Goldsmith and Sebastian Steinberg

Ghosts of Christmas past:
» let your heart be light
» i'm offering this simple phrase
» it's been said many times, many ways
» with soul power
» it's the end of the things you know
» you could say one recovers
» a really good time
» the things you do to keep yourself intact
» i've heard a rumor from ground control
» strangest times
» i'll be a rock 'n' rolling bitch for you
» purple rain
» a few of my favorite things
» on such a winter's day
» man of the world

from the wrinkles on my forehead

Whew, where does the time go? This post has been on my brain for a little while now, so I might as well commit to the page.

Jon Brion, Largo at the Coronet, November 9, 2023

In October, Jon's show coincided with the first of two Wilco gigs at the Bellwether. I decided to stick with the original plans and have absolutely no regrets. Of course, I jumped on the next show announcement post-haste, and more importantly, I took it as a sign that Jon was back. I don't want to take these shows for granted, but it's good to know that we might be onto the start of something good again.

I, for one, like these weeknight gigs. Full disclosure: Airfare is cheaper, and my flexible work schedule is a blessing in this regard. I try to remind myself that I can't make all the shows, but dammit, I might die trying.

As this is only the 3rd show since Jon's return, I can't make any proclamations, but I've seen a pleasant mix of old-school faces in the audience. I guess people are curious when a former fixture stays away for two-plus years.

Onstage we saw a similar array of instruments as last time: vibes, guitars, lots of amps, and pedals on the key-based implements. Several books were also visible before Jon arrived with his usual Guinness. He informed us we were in store for a live soundcheck and started off with moody music, complemented by moody lighting, courtesy of the control booth. I'm not going to guess at what he played or drew from. Any artist I named would only reveal my ignorance. I'll just say it was warm and comforting, like a winter coat.

Still on the piano, he played with the pedals to create a contemplative tune before easing into one of his standards, "Strings That Tie to You." This version was more wistful than the studio track, and he segued into the "Eternal Sunshine Theme."

He immediately asked for requests, and the usual barrage ensued. Full disclosure: My brain hasn't been the sharpest. I blame the early morning flights from that week. I say this because I heard many of the requests, but per normal, I didn't put too much stock in them, as Jon will play what he wants anyway. He said something about needing a bossa nova beat because everything in the '80s used it, and to be frank, that should've been my tip-off. As he started playing on the piano, he asked if anyone knew the first verse and not a soul replied. This is kind of a travesty at Largo, but you can't have ringers every night.

I still didn't recognize the song until Jon furnished the second verse, and shame of shames, he was doing my beloved "Avalon," which comes up on my phone's shuffle frequently and happens to be one of my all-time favorites. At that point, I also remembered the first verse ("Now the party's over/I'm so tired/Then I see you coming/Out of nowhere/Much communication in a motion/Without conversation or a notion"), but that did no one any good. Instead, I mentally kicked myself for a bit before settling in to enjoy the rest of the song, which I don't think I've ever heard him do before. In fact, I've always assumed he was more of an Eno guy than a Ferry guy. I'd love to be proven wrong!

Even better, Jon segued into "To Turn You On," from the same album, and I'll never say no to a Roxy Music rock block.

He continued to ask for requests and picked up a guitar when he decided on the tune. He tuned, put down some loops, and fuzzed it up, and I soon realized he was doing my request for "Same Thing." I know fans love his covers, but at least early in the evening, I like to go with the songs that he's written or at least contribute to. Nerd that I am, I lean toward the older tracks, but then again, it's not like he's officially released any new music. Anyway, we got "Same Thing." I know it as a '90s-era power pop classic, but Jon seemed to lean in another '90s direction with aggressive guitar. He threw in a bunch of riffs from other songs (I heard a touch of "Incense and Peppermint" and the "Peter Gunn Theme"), and I was happy to do my part for the evening.

For the next request, he turned up a disco beat, leading to the one of the flagship songs of the movement. I have actually heard Jon do this one before, and tonight, the crowd enthusiastically sang along to "Staying Alive," including the line about the New York Times. This might've progressed to another song, but if it did, I can't name it.

Jon went back to his catalog for "Knock Yourself Out," which sounded a little like a saloon classic, with its clipping pace. He kept the rhythm with his feet and messed with the time signature to transform the song, as is his wont.

He went back to the guitar for a heavy riff and a Tom Waits-style vocal, all leading up to "When Doves Cry." Once again, the crowd sang along, down to the exclamations. He threw in bits of "Girl from Ipanema" and maybe "Piano Man," along with the Hendrix version of the "Star Spangled Banner."

Jon next sat down at the celeste and played a tiny snippet of "Smells Like Teen Spirit" per an audience request. But his real mission was "In the Wee Small Hours of the Morning," which I had to look up after this show. All I can tell you is that this was one of the intimate experiences you can get at few places other than Largo, as Jon crouched over the keys and you couldn't hear a sound from the audience. Spinning around on his seat, he went to the piano and his own "Trial and Error" to complete this keys-based segment.

From there, he walked over to the vibes to honor an earlier audience request: "While My Guitar Gently Weeps." It was as fun and as wonderful as you can imagine.

Jon left shortly, then returned with Sean Watkins and the two hit the classics with Peter and Gordon, then the inevitable Dylan (not a bad thing!). Then Jon closed with a song he said he noticed had the same cadence with a Cole Porter song, and I woudn't have guessed that we'd end up with "Ace of Spades," with Lemmy-style vocals on acoustic guitar.

Setlist
piano
Strings That Tie to You/Eternal Sunshine Theme
God Bless the Child
Avalon/To Turn You On
Same Thing
Staying Alive
Knock Yourself Out
When Doves Cry
In the Wee Small Hours of the Morning
Trial and Error
While My Guitar Gently Weeps

Encore
I Go to Pieces *
You're Gonna Make Me Lonesome When You Go *
Corrina, Corrina *
Ace of Spades

* = with Sean Watkins

Related shows
» like a dream in the night