fantastic voyage

Night 2! As Mike said, it's almost a festival! I had no choice but to hit both nights.

Jon Brion, Largo at the Coronet, November 8, 2025

We were welcomed by the same setup tonight: the piano, with all of its accessories, and some guitars. Once again, Jon the professor took the stage. After settling in with a late pint of Guinness, he opened on the piano of course. I had no idea what the composition could be, but as it turned out, Jon was in a didactic mood tonight. At the end of the 15-minute (maybe 20) performance, he told us it was Aaron Copland's "Our Town."

Jon followed up with two of his works, the unreleased "Trial and Error" and the theme from Ladybird. I have to admit I didn't recognize the second one, though I knew it was a soundtrack track. As Jon was feeling talkative, he told us exactly what he played. I've since become familiar with a specific riff in the song, and it's become a regular part of his playlist.

He asked for requests and granted a suggestion for David Bowie. I don't recall if someone asked specifically for "Fantastic Voyage" because -- let's face it -- how many people know that song? Jon himself forgot some of the lyrics, but no one was holding it against him.

From there, we got a block of Jon's original tracks. "Same Mistakes" had a long instrumental intro on that bionic piano for a twist, and "The Girl I Knew" stumped even me for a little bit with the reimagined introduction.

I can't recall if Jon asked for requests or someone yelled it out, but we got the timeless "More Than This." For as many times as I've heard Jon perform this song, he coaxed out even more notes that I didn't know existed in the song. I'll take 10 of those every time.

Jon also went into George Harrison, but "Someone to Watch Over Me" was the magnum opus, which is often the case at Largo. It went all over the place, as is Jon's wont, and when you thought he'd wrung every note out of it, he came back with a new riff. But that's just a Friday at Largo.

For the encore, Jon threatened to play "atonal 20-minute versions" of selected songs, and to start, he went with a soundtrack title. I think it was something from Eternal Sunshine of the Spotless Mind, but I can't confirm.

But in a twist, Jon consulted with his tech and revealed to us that he had a message from Andrew McPherson, the inventor of Jon's new favorite instrument. Andrew was on the other end of the FaceTime as he listened and watched the performance. Jon also informed us that the piano was the only one of its kind in the United States.

Jon closed with a mostly straightforward version of "Knock Yourself Out," but took advantage of the magnets in the piano on a couple of passages. For all of the twists and turns in his shows, it's no surprise that he comes back to his classics.

Setlist
piano
Trial and Error
Theme from Ladybird
Fantastic Voyage
Same Mistakes
Love of My Life So Far
The Girl I Knew
You Made the Girl
More Than This
Isn't It a Pity
Someone to Watch Over Me

Encore
soundtrack song?
Knock Yourself Out

the man who invented himself

Happy 2026! This blog has a reason to exist again, and pardon the delay, but I'm back on the clock (when possible). Without further ado, Jon Brion!

Jon Brion, Largo at the Coronet, November 7, 2025

The date showed up out of nowhere, and I didn't need to be asked twice. If I recall correctly, Jon's last show took place in June 2024, but I was at Wilco's every-other-year Solid Sound Festival. You can't attend them all, but I had no idea Jon wouldn't be back for 16 months. Reminder: Go see your favorite artists whenever you can. There's no guarantee you'll get another opportunity.

Flanny of course did the introduction, showing off his Dodgers t-shirt. (No comment.) Jon looked like a professor when he made his entrance, with a soft bucket hat on his head, a loose scarf around his neck, and a leather bookbag slung over his shoulder. School was in session.

You couldn't miss the Steinway baby grand parked center stage or the numerous mics strategically positioned on and around the instrument. Jon also had a small array of guitars at his disposal, but none of the other gear that he's known for -- not even the drums. Anyone who comes to Jon's show knows to expect the unexpected, and without touching a key, he instantly checked that box.

Fom the first note, we knew we were listening to something different. It's hard enough for me to describe Jon's music, especially the instrumentals, but you'll have to bear with me. All I can say is that Jon played the piano and checked a MacBook to his left. As an audience member, I heard both the piano, but also a synth undertone and a slight dissonance behind the main notes. In his usual fashion, Jon opened with a roughly 20-minute instrumental exercise that I won't attempt to guess.

He did end the tune with some background on the bionic piano. He said playing it was like having 88 EBows on piano and credited Andrew McPherson for his innovation, which he jokingly referred to as "a bunch of magnets." He's not lying, but you can investigate for yourself on his website.

Overall, I took very few notes about the actual sound because I lack the vocabulary or the musical knowledge to do it justice. In many ways, the songs were deeper than what you'd expect from, in essence, a singular piano. At times, it sounded like a string orchestra but maybe fed through a filter.

Jon immediately asked for a request, but warned that "it's gonna come back moody." He opted for his classic "Same Thing," which is always a great start to the pop portion of the night. He continued with his own soundtrack songs. I identified one as "Strangest Times" from I Heart Huckabees, but I have to admit that I couldn't place the other one. It might've been from Eternal Sunshine of the Spotless Mind, but no guarantees.

Jon next treated us to Robyn Hitchcock rock block with the sublime "Queen Elvis," followed by "The Man Who Invented Himself." For the latter, he drew from a large binder of lyrics, and to the best of my knowledge, he used no effects. He also told a story about going to a record store around the time of the album's release and the record store employee introducing him to the record -- a rite of passage that any vinyl fan can relate to.

He returned to one of his original songs (not one of my favorites, I have to admit), then what I think was "'Round Midnight," which I mostly recognize because it goes on for a long time. I'm half-kidding; I've heard Jon perform this song enough times that I can pick out an arc or two.

Jon played an extended intro as he welcomed Grant Lee Phillips to the stage. Grant, in case you've forgotten, was one of the main people who helped establish Largo on Fairfax, and he and Jon are always a must-watch combination. I've written about them at length!

Grant was in town for a show at McCabe's the next night, and the crowd at Largo greeted him warmly. To be honest, I can't remember why Jon stretched out the piano prelude. Maybe Grant was looking for a guitar? I recall that Grant briefly grabbed an acoustic, but he quickly abandoned it. In fact, it took him a little while to realize that Jon was playing one of Grant's own tunes -- the sublime "Fuzzy" from the first Grant Lee Buffalo record -- and even asked Jon to confirm the song choice. (Meanwhile, I had been squirming in my seat for several minutes as I waited for them to kick off the performance of a track I've loved for a long time.)

Make no mistake -- Jon nailed this song, but he also gave Grant enough room to improvise with pace, crescendos, and other flourishes. Grant Lee Buffalo was one of my favorites in the '90s, and the song is still a gem.

Jon next started on another favorite, Bowie's "Ashes to Ashes," and yelled at Grant to come back to the stage to handle the vocals. We'll always take more Grant!

After Grant left the stage, Jon hit a couple of soundtrack songs, but I can't tell you which. I suspect one of them was the Lady Bird theme, which has become one of Jon's recent favorites.

Jon took out the big book of lyrics again and paired his choice of a song with a Sondheim-like arrangement. The tune: "Anarchy in the UK," by the Sex Pistols. If you think about it for a minute or two, I bet you can get the gist in your brain. From there, he went into a straightforward rendition of a Cole Porter title to continue the theme.

He followed up with "Trouble" on the piano, then headed over to the guitars for the first time that night. Alas, the diversion was short-lived, as none of them were up to snuff. He returned to the piano and asked for requests, resulting in "I Believe She's Lying."

Jon closed out the encore with another two of his originals. And we still had one more night to look forward to.

Setlist
piano
Same Thing
Strangest Times
soundtrack song?
Queen Elvis
The Man Who Invented Himself
That's What People Do
Round Midnight

with Grant-Lee Phillips
Fuzzy
Ashes to Ashes

Eternal Sunshine theme
soundtrack song?
Anarchy in the UK
I Concentrate on You
Trouble
I Believe She's Lying

Encore
Ruin My Day
The Way It Went

Related shows
» top 5 Largo memories
» Take Me Home, Country Pigeon
» i'm happy, hope you're happy too

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

i know it's today

Long time, no blog! In fact, I've been to some shows since the Lost Time, but they weren't worth chronicling until this one: the return of Jon Brion. Happy to be back!

Jon Brion, Largo at the Coronet, September 14, 2023

By my estimation, Jon Brion's last show at Largo took place in February 2020. He's dropped in now and again for friends' shows, but three and a half years has passed since the world last saw him do what he does best. Some of us have felt every passing month of that wait. There was no hesitation on my part to get to LA for this gig.

I can tell you exactly when I last saw Jon Brion because none other than Mick Fleetwood, Neil Finn, and Liam Finn joined him that night. Lest you've forgotten, I don't really care who Jon welcomes to the stage -- I go to these shows to see Jon. Everyone else is a lovely bonus, but not my motivating factor. Besides, if you know me, you know that I do everything I can to attend the Christmas show.

Lately, I mostly come to Largo to see Jeff Tweedy, and music remains my biggest motivation to make the trip. But even the prep for this show felt a little different, and I probably had an extra spring to my step as we walked up Beverly. The lobby and bar were buzzing as we saw familiar faces, and the theater was packed. As usual, I had no expectations going in, though I had a couple of requests should Jon call for suggestions.

Jon's instrumentation is always notable, and I can report that he had the vibes, a dozen-plus guitars, a small Casio keyboard, and maybe a Chamberlin, along with several panels of pedals and switches at the foot of Largo's signature upright piano. That is, he didn't have drums, video screens, or the EMS Synthi.

Jon emerged without any fanfare, carrying a pint of Guinness and a notebook. He looked a tad grayer, but don't we all? His first tune was the jingle for Skyrizi, confirming that he too has been watching TV. From there, he went into a piano song that I can't identify, except it had a slight pop feel, as opposed to a jazz or an abstract track, which he's been known to do. The next song was more familiar, as I recognized the back-and-forth piano work.

I'll admit that I didn't know the next song. My notes say he used the pedals for a spacy, layered pump organ-like sound, and he brought in the Chamberlin for a slow, developing song. This could be anything, right? But Paul identified it as "God Bless the Child," and I'm not going to argue with him.

The next song started with spacy sounds, and Jon spent some time testing the piano and the off-tune keys, but I mostly knew where he was going. When you hit enough Jon shows, you get a clue or two about where he might be heading, and I figured he would go in one of two directions. Tonight, that meant "Stop the World," but hint: Sometimes you end up with "Strings That Tie to You." Of course, Jon mixes up his songs with every performance. Tonight, a pretty, pronounced rhythm jumped out to me.

Jon requested more slap from the sound booth for his next classic "Ruin My Day." He stretched out the pace on some vocals, and this was the first warm blanket of the evening.

The next song might not be a song at all, and I won't venture a guess. At one point, he played a snippet of The Outer Limits theme. My notes say he layered the instruments to create a moody, dramatic soundscape that, to my ears, suggested a journey. Maybe it's soundtrack work? Maybe it's his real-time experimentation? Probably only Jon knows!

I recognized the next song immediately, but it was still fun to hear Jon's long intro and leisurely pace before he launched into "Knock Yourself Out." He sounded so effortless, as he played with the pacing, slowing down the tempo to wrap up the tune.

Remaining at the piano, he worked the pedals and the layering for one of his signature songs: the theme to Eternal Sunshine of the Spotless Mind (which, by the way, you can hear as the background music in the BMW Super Bowl commercial from a couple of years ago). The loops reinforced the emotional arcs of the song, and in other parts, the dissonance between the piano effects brought to mind the chaos of the movie.

For the last piano track in this opening segment, Jon punched out a fast, extended intro, and I thought I picked up the rhythm of the song. My guess was correct, as he went into "Meaningless," from the only solo album he has yet to release.

Jon finally made his way to the guitars, first picking up the faithful black-and-white Gretsch. After an extended tuning, he hit his own "At It Again," an unreleased track that he plays often. This probably isn't the most original thought, but tonight, I heard the XTC influence in this song.

Jon made an off-hand comment under his breath before he started the next song, but even if he hadn't, I might've eventually figured out that he and his first guest Sebastian Steinberg were doing "'Round Midnight." I confirmed with Paul and Evonne after they finished, but I'm still pretty proud of myself for picking up the clues.

Next, we got this exchange:
Jon: Name something.
Sebastian: Tom.
Jon: Or start something.

With that cue, Sebastian started riffing on his stand-up bass, and the two of them eventually crafted "Don't Get Around Much Anymore." They had fun with a couple of Jon's favorite crowd-pleasers befor David Garza joined them.

Jon took to the vibes as David started with his own "Drone," followed by the blues classic "Got My Mojo Working." We did our part, shouting out the chorus, as Jon played the vibes like a drum set, hitting the stems and all but the vibes bed.

John C. Reilly emerged from backstage to take the mic for a couple of standards that he presumably also performs in his own show as Mr. Romantic. This isn't the first time I've seen John C. Reilly in performance at Largo, but in case this is a new concept to you, I can assure you that he has a wonderful voice. Say what you want about actors who want to be singers, but keep in mind that some are trained to cross those lines. Anyway, thespian that he is, John gilded the lily, as he stepped to the edge of the stage and towered over us in the first row to belt out "Mona Lisa."

To close out the main set, Jon was left by himself, and he returned the piano. As soon as he turned out the calypso beat, I was 99.9% sure where he was going, but you never really know. Regardless, the thrill was the same when "More Than This" broke out. I'll never say no to this song. He might've played one more song, but I can't identify or confirm that tune.

Jon and Sebastian returned for the encore and asked us for requests. Ultimately, they said they couldn't understand any of us and polled us on a couple of choices for a singalong. Jon reported that he heard more support for "God Only Knows," but the votes for "Life on Mars" were more vehement. He decided to split the difference, but warned that most people don't really know the words to either. I admit that Jon usually leads the songs, so the audience as a whole fills in the parts we know and love best. Nonetheless, he let us proceed, starting with Bowie.

Largo is a magical place in many regards, but one element has popped up more than once, and it did again tonight. Not only did one person in the audience know all the words to "Life on Mars," but he also had a beautiful singing voice. Call him a ringer, but he was our guiding voice and a pleasure to hear. When you think about it, this should come as no surprise when you're in one of the entertainment capitals of the country, if not the world. I can only imagine how many musicians were in the audience, but I'm grateful for that particular songbird.

"God Only Knows" was more traditional in that almost everyone seemed to know the words or knew enough of them to chime in. I feel like almost every song at Largo is a celebration, but this is always the ultimate unifier and reminder that you're among friends. I hope Jon -- and we -- can do it again soon.

Setlist
Skyrizi song
piano
Strangest Times
God Bless the Child
Stop the World
Ruin My Day
???
Knock Yourself Out
Eternal Sunshine Theme
Meaningless
At It Again
Round Midnight *
Don't Get Around Much Anymore *
Funkytown/Dance of the Sugar Plum Fairy *
Drone **
Got My Mojo Workin' **
Blue Skies ***
Mona Lisa ***
More Than This
???

Encore
Life on Mars *
God Only Knows *

* = with Sebastian Steinberg
** = with Sebastian Steinberg and David Garza
*** = with Sebastian Steinberg, David Garza, and John C. Reilly

Related shows
» man of the world
» this is how i tell it
» no one will be a stranger

it's a Californian bungalow in a cul-de-sac

I fall in love with artists, but I also fall in love with venues. I dream about several I may never visit again, and I try to come back to the ones within reasonable (or not) distance. The stars aligned when Courtney Barnett showed up on the Pappy & Harriet's schedule, on a Friday to boot! It was time to hit the road for this treat.

Courtney Barnett, Pappy & Harriet's, January 31, 2020

You could argue that Pappy & Harriet's is not within reasonable distance from almost anywhere. It's a hell of a drive from the heart of Los Angeles on a good day. Throw in SoCal's notoriously congested Friday afternoon traffic, and a nominally two-hour trip almost doubled in duration. But hey, we knew that going in. Might as well enjoy the scenery and the company.

After stops at a San Gabriel dumpling destination and our resident casino hotel, we finally made our way to Pappy & Harriet's at an uncharacteristically (for me) nontwitchy hour ... and promptly squeezed into a crowded, buzzing room as opening act Hachiku started her set. As it was only my second time there, I'll eventually figure out what's a good hour to arrive at Pappy & Harriet's for those of us who aren't vertically blessed. It was fine, even if I had to curve my gaze around fans and phones alike in front of me. That's the price you pay for favoring small, no-frills rooms with low stages.

Courtney came onstage in her typical low-key style, and after the initial chatter, the crowd appeared to be good fans and not just the onlookers and scenesters who show up at LA gigs. It was hard to say how many people had trekked out for the show and how many were locals, though it soon became clear that a contingent of faithful fans had followed her out to the desert. One of them requested "Sunday Roast," and she obliged. At other points, they filled in the harmonies and backing vocals for beloved tracks. A young child in the audience managed to project their voice enough that Courtney could hear their "I love you" through the bustle of the bar. And as much as the crowd embraced her, she said she wanted to spend more time in the area as well, maybe even buy a house. Score one for Pioneertown!

This was Courtney's solo tour, and it was just her and a guitar or two. But anyone who knows me knows that I love the stripped-down treatment. She made the usual jokes of an artist striking out on their own, asking us to imagine a guitar solo, but she didn't need to. Her breezy delivery and melodies did more than enough work to carry us along. As I understand it, she did her standard set, with "Depreston," "Avant Gardener," and one of the tracks with Kurt Vile. She revealed that the song she had been calling "Untitled" now had a title (that I can't recall), and she threw in a few covers. One was by an Australian band that I didn't recognize, but the others spanned a variety of influences: Hank Williams (perhaps inspired by our environment), the Lemonheads, and -- my not at all secret wish granted -- Gillian Welch. Insert heart eyes emoji.

Several years ago, I realized that a new generation of indie rock was taking over, and I had neither the desire nor the energy to pursue some of those names. For the most part, I'm fine with that decision, but at times, I realize I've been slow on the uptake with other amazing artists. Yes, it took a long time and a lot of miles for me to finally see Courtney Barnett in her element (I don't count Solid Sound since that was a festival), but I wouldn't change a thing. If Courtney stays true to her word, this may not be the last time I travel far out west to catch her show.

Hachiku was also a solo female performer, a German woman currently living in Australia. Her voice packed power at times, and she also sang a couple of covers: the Cranberries' "Dreams" (RIP Dolores) and Nena's "99 Luftballons." As someone who came of age in the '80s, I knew the song was a commentary on the Cold War, but somehow, it sounded more emphatic sung in German -- maybe because I didn't hear the line about Captain Kirk. I'm always up for an '80s revival and am doubly pleased when artists who were at best in diapers during that time are coming around to the decade's charms. Let's dance!

See also:
» come with me

man of the world

The great Oscar Wilde once said, “Consistency is the last refuge of the unimaginative.” But guess what? Consistency also means you make friends in interesting places and occasionally reap the rewards of faithful patronage. Case in point: The last Jon Brion show of not only the year, but the decade.

Jon Brion, Largo at the Coronet, December 20, 2019

A couple of days before this show, Largo posted via its Instagram and Twitter accounts that Jon would welcome a special guest at this show. I registered the note but didn't think much of it. After all, I've been to enough of them to know that the guest could be just about anyone, and I come to see Jon. Everyone else is butter.

But not long after we arrived, we ran into another Largo regular, and she revealed the mystery. Neil Finn would be the guest tonight. You can't necessarily tell from this blog, but Neil is a longtime beloved performer. I was already a fan of Largo, but when I heard that Neil was starting to drop in for Jon's sets, I chalked up yet another reason to visit Los Angeles. My wish finally came true in 2004, when Neil guested at a Jon Brion show. I pretty much died that night, and fortunately, I managed to document the experience. Neil has continued to support Largo (and vice versa), but to be able to see him as an unannounced guest is a special treat.

But first, Jon's show! The stage was well stocked with the two video screens, a full drum kit, a mess of guitars, a Mellotron, and a Leslie cabinet.

Flanagan and Bobb Bruno emerged together -- Flanny looking like a young Kris Kringle from the Rankin-Bass Christmas classics, and Bobb offering silent moral support. Flanagan ran down a list of Jon's recent ailments (arm, leg, head), then brought the patient to the stage. For what it's worth, Jon looked fine, decked in a classic vintage outfit and carrying a pint of Guinness. So far, so good.

He started with a piano tune that's probably an actual composition and not simply noodling, but once again, I have to shrug because I rarely recognize any of the jazz standards. Fortunately, he soon went in on a couple of his own compositions. "Knock Yourself Out" was a mostly traditional interpretation on piano, and "Over Our Heads" was also fairly traditional (for Jon), with a vocoder and sampled feedback from inside the piano.

He asked for requests and decided on a mashup of "Moonage Daydream" in the Christmas style. The celeste mostly supplied the holiday effect, bringing to mind "Dance of the Sugar Plum Fairy" at times. Not missing a beat, Jon continued to mess around on the EMS Synthi until he eventually coaxed out "Ashes to Ashes." Once again, the celeste came through for a tiny sprinkle of "Jingle Bells" amid the electronic angst.

With little fanfare, Jon yelled backstage and asked Neil if he felt like singing. Neil joined us posthaste, but he wasn't alone. Largo regular Sebastian Steinberg joined him, and what do you know? So did Mick Fleetwood! Yes, that Mick Fleetwood from that band that Neil has been touring with for the last year-plus. For those keeping score at home, yes, this was Mick's first appearance at Largo, and he made a hell of a debut.

They went immediately into one of Neil's classics, "I Got You." Neil managed to hit the mute pedal just as he was about to rock out, but no worries -- the bigger story was the fact that Mick was playing the shit out of the drums. You can take the rocker out of the stadium, but you can't take the stadium out of the rocker! They followed up with an old Peter Green song, for those who remember the pre-Buckingham Nicks era of Fleetwood Mac. Neil's voice remains one of my favorites, and he didn't disappoint this evening.

Neil left the stage, but Mick and Sebastian stayed to join Jon as an impromptu jazz combo. This happens at Largo a lot, as new acquaintances become partners and collaborators in real time. Once more, I'm completely useless when it comes to identifying the song or even the artists. The first one was rollicking as each musician settled into a groove. Jon was rocking in his seat, pulling the piano bench back and forth as he moved to the tune. Sebastian was an old pro, his focus evident as a longtime Largo fixture. The second song had a Jerry Lee Lewis vibe, and the third one was more languid at first. My stab in the dark is Fats Domino, but I'm sure that's way off. After the show, Flanny mentioned that one of the tunes was from Thelonious Monk, but I'd be hard-pressed to figure out which it was.

Mick, for his part, looked hugely invested as he worked the entire drum kit, his long arms hitting every inch of the drum kit. I loved watching him as he watched Jon for musical cues and perhaps more -- maybe to express his approval? Like I said, I've seen that look before, and it's a huge tell when world-renowned artists are clearly so happy to be in the Largo environment.

Here's a funny aside: It looked like Mick brought his own tech to the show. A man hung to the side of the stage and intently watched his every move. I believe he also collected Mick's drumsticks after every session.

Jon settled in alone for his "Please Stay Away From Me" and fired up the video machines and footage of Andres Segovia for "Strings That Tie to You," capped by an instrumental nod to "Somewhere Over the Rainbow." (No, I don't always need to hear the lyrics!)

But the solo spell was short-lived, as Jon brought Neil back out, this time accompanied by Liam Finn (to audible gasps from Evonne and me). Mick and Sebastian soon followed, and they settled into a Neil Young rock block. The first title, "After the Gold Rush," fell apart a little on the second verse, even though an audience member tried to help.

When they couldn't immediately figure out what to do as the second track, Jon took the lead to bring on "Only Love Will Break Your Heart," which was a lot kinder to everyone involved. It was pretty clear that Jon wasn't really in the mood for singing that night (perhaps related to the afflictions Flanny mentioned?), so it was a good thing that Neil was ready to man the mics. They finished up the Neil-on-Neil set (album idea!) with "Southern Man."

Neil asked for requests and finally opted for Crowded House songs, starting with "Chocolate Cake," where Neil and Liam's complementary vocals jumped out. For "Private Universe," Liam moved to percussion, where he and Mick went with the double drummer setup that I love so much (see: early Adam and the Ants records) to great effect.

They came to a short impasse as Neil confessed he couldn't remember the old classics he and Jon have done so much at their combo shows. From the front row, I offered "Moon River," and Neil obliged. As someone who's attended several of their shows together and listened to numerous bootlegs, I can do this all day, but I was more than happy that they took up the one request.

To close Neil's portion of the show, Jon suggested "Four Seasons in One Day," and for his part, he played at first the Mellotron, then switched back to the piano for a sublime bridge on this always lovely song.

For the capper, Jon at first tickled some keys, and my heart skipped because I recognized it as Elliott Smith's "Happiness," which probably would've made me cry in my seat. But instead, he fired up the beat machine and opted for another favorite. With Sebastian Steinberg and Paul Cartwright, they coaxed out "More Than This." I will never object to it.

And he threw in a few notes of "Jingle Bells" on celeste for good measure. Happy holidays and have yourself a great new decade!

Setlist
Flanny and Bobb Bruno intro

-- piano
-- Knock Yourself Out
-- Over Our Heads
-- Christmas Moonage Daydream
-- Ashes to Ashes

w/ Neil Finn, Mick Fleetwood, and Sebastian Steinberg
-- I Got You
-- Man of the World

w/ Mick Fleetwood, and Sebastian Steinberg
-- mystery song 1
-- mystery song 2
-- mystery song 3

-- Please Stay Away from Me
-- Strings That Tie to You/Somewhere Over the Rainbow

w/ Neil Finn, Liam Finn, Mick Fleetwood, and Sebastian Steinberg
-- After the Gold Rush
-- Only Love Will Break Your Heart
-- Southern Man
-- Chocolate Cake
-- Private Universe
-- Moon River
-- Four Seasons in One Day
-- Moon River

-- More Than This

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

you shouldn't be faint about it

Amid all the holiday season hubbub, I almost forgot we had a Friday the 13th in December this year. What better way to tempt fate than with Robyn Hitchcock's return to Largo at the Coronet?

Robyn Hitchcock, Largo at the Coronet, December 13, 2019

No surprise that I decided to attend this show on the promise of the "Robyn and Friends" billing. Though I try to temper my expectations, I hold out hope that a beloved figure or two will show up. Stay tuned to see if they do.

Robyn emerged in a flowery shirt on a minimalist stage, though the three mic stands hinted at the personnel to come. He explained that the show would be broken up into two segments separated by a brief intermission. He said a whole lot more, to be honest, but I can't remember the sequence or most of the banter. I'll try to cover some of it later, but for now, I can report that he went straightaway into "Balloon Man," perhaps his most notable stateside hit. In fact, he played a bunch of Robyn Hitchcock and the Egyptians songs during this performance, perhaps in preparation for the upcoming performance of Eye at the Chapel in San Francisco for his birthday in March. Who can blame him? It's a landmark record with some of his greatest songs, and we want to hear it.

Not long ago, I realized that Robyn may be the through line connecting much of the American music I love the most: Wilco, Gillian Welch, Grant Lee Phillips, and Jon Brion, to name a few. (In fact, he opened three shows with Wilco in Chicago shortly after the Largo date.) A little internet research turns up a reasonable explanation: He was a huge influence on REM, and in return, they championed him among their fans at their peak popularity, not only playing on his records but also touring with him. It's no stretch to imagine that the young musicians listening to REM would turn their ears to Robyn as well.

I mention this because I think it helps explain my evolution as a Robyn fan. Granted, Robyn has a ton of die-hard fans who can recite his discography backward and forward. I'm not one of them, but I've come to fully appreciate his influence on at least one corner of the American indie landscape. Even during my Anglophile years, his music required a greater intellectual investment than the shiny pop hits of the day, though they often had incredible hooks and melodies. A friend once told me that I'll get Dylan when the time is right. (This has yet to happen.) I guess the time has arrived for me and Robyn, now that I've seen him in concert umpteen times.

Robyn talked a lot during the show, though I can't say if it was more or less than usual. The banter that stuck out the most was all geography based, as he shared his experiences living in Los Angeles, San Francisco, and New York, while growing more distant from England. He had a great bit about being in school with Brian Eno, in the same way that he was in England at the same time as Winston Churchill. That is, their schedules happened to coincide. Any true connection was imaginary.

Unsurprisingly, the sublime "Madonna of the Wasps" was a highlight of the show and reminded me that I had caught Robyn's birthday tribute at the Fillmore a few years back. Drawing from that cast, Eric Johnson of the Fruit Bats joined Robyn and Emma Swift for a couple of songs ("Trams of Old London," "Ole Tarantula") to end the main set. I'm not sure if Eric has played Largo before, but it's always a please to see another artist join the fold.

Robyn took to the piano for the encore, banging out three of his biggest influences: Pink Floyd, Bob Dylan, and John Lennon. I'm forever a fan of the Lennon track ("God"). Robyn went entirely traditional on the tune, not ad-libbing any lyrics. As much as Robyn likes to chit chat, this show might've been one of the better spotlights on his music I've seen in a while. My appreciation has only deepened. Until next time (and there certainly will be a next time)!

See also:
» i was a new york doll

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

come with me

According to this blog, I last saw Wilco two years ago at -- drumroll, please -- Solid Sound. As I recall, we knew Wilco was going on a break after the festival, but I'm not sure we expected to wait a couple of years to see the band again. You can imagine how gratifying it was to realize that the festival was not only Wilco's return but also a reintroduction and unofficial launch of their new record, coming this fall.

Solid Sound Festival, June 28-30, 2019

In fact, there was a listening party for the new record in one of the exhibit halls in the museum over the weekend, but I didn't make it there. Actually, I didn't make it to most of the engagements at the festival. I admit to becoming jaded about MASS MoCA. Can you blame me? This was my seventh trip to the site. Also, our group of friends had grown more lackadaisical about arrival times, now that we no longer stay in town. But in the end, I was the schmuck who wandered down to the field and grabbed a spot where I could find one at the barrier. Fortunately, the crowds weren't oppressive, and group traded shifts, so we were able to maintain a presence without much stress. We did fine for the main stage, but at least for me, I sacrificed the supplemental festival acts.

On Friday, that meant I finally got to check out Courtney Barnett. It's no secret that (1) I'm a venue snob, (2) I've become incredibly lazy about seeing shows in recent years, and (3) I'm simply not as informed on new acts as before. Thus, despite many friends' recommendations, I've regretfully missed all of Courtney Barnett's shows in the Bay Area, and at this point, she may have grown out of the clubs I prefer. Thankfully, Wilco helped right that wrong.

Not that I can say much new about Courtney at this point. She was fab and fun and cheeky enough to throw a few classic rock poses while playing her indie rock tunes. The crowd near the front seemed sufficiently supportive, and a good singalong broke out to what I think was "Depreston." A tiny part of me hoped that she'd do her cover of Gillian Welch's "Everything Is Free," but a person can hope for only so much at her favorite band's festival. I was overdue to become a fan, and this show clinched it.

On Saturday, I managed to wander off to see Ohmme in one of the courtyards. Of course, I've seen Sima Cunningham on tour with Tweedy, but odds are low that her band will make it to the West Coast soon. I had to take this opportunity while I could. I was pleased to see they're a rocking combo, with both ladies on guitars. Sima's sweet vocals are apparent with Tweedy, but she and Macie Stewart kick out the jams with punk energy. They also covered the B-52's "Give Me Back My Man," which I'm old enough to -- er, never mind. I'd gladly see them play out here, and I hope they can book a date or two in town in the near future.

Saturday also brought both heat and rain. Because of the former, I chose to skip the Minus 5 in Courtyard D, but I've been fortunate enough to have seen various incarnations of the band a jillion times. Still, it would've been nice to see Scott McCaughey in his continuing recovery (though he made an appearance on the main stage on Sunday). Because of the latter, the schedule was slightly trimmed on the main field so that only Cate Le Bon and the Feelies played before Wilco.

Cate Le Bon was a mixed bag for me. About half of her songs were instantly appealing (for what it's worth), while others were perhaps a little too esoteric when you're standing in a field. In a different setting (say, Cafe du Nord), I might've been able to better appreciate the nuances.

However, Jeff did join the band for a couple of songs: "Strangers," the Kinks cover that Jeff occasionally rolls out, and "I Couldn't Say It to Your Face" by Arthur Russell. (I don't actually know the latter, so you can thank Paul for that info.) Jeff and Cate don't seem like a natural pairing, but that's one of the pleasures of self-curated festivals. You get a view into the entirety of a band's interests and influences. It's not so surprising to learn that Jeff enjoys and shares influences with British art folksters.

It goes without saying that the Feelies are American indie rock pioneers, and it was immediately apparent from the first notes of their set. I instantly recognized the guitar style that influenced about half the bands I heard tuning in to KSJS as a teenager. I love masterful production as much as the next person, but that spare, unsullied sound will always get my attention. Jeff also joined the Feelies onstage, this time for Neil Young's "Don't Cry No Tears." (You can thank Paul for that info as well.)



Sunday brought the most emphatic storm warning of the weekend. We didn't arrive at the museum until past noon, so we didn't have to evacuate the open areas and take cover in the museum halls to avoid the thunder. (However, we did end up sheltering and eating BBQ in the car until the festival staff gave everyone the green light.)

Jonathan Richman was the sole opener on the main stage. He too is a Solid Sound repeat performer and a longtime Wilco favorite. Several members of the Wilco entourage took in his set, even singing along to his tunes. Jonathan pulled out his signature moves, tunes, and musings for an appreciative crowd. I think we were more surprised by his trusty drummer Tommy, who sported a more rugged and rockier look than I recall. Their light, breezy set was a nice intro on this closing day.

Now for the Wilco content! Friday has always been the looser Wilco set. In previous years, we've enjoyed the all-covers show, and last time, the band did a couple of albums in their entirety. This year, we watched Wilco karaoke. Personally, I'm open to these one-offs, and on the whole, the singers did well, even if a few needed a bit of direction from Jeff. I counted at most two clunkers, and a number of the guests were likely in bar bands or had their own YouTube channels. Our group seemed to agree that Bailey from South Bend, Indiana, took top honors with her plaintive but soulful rendition of "True Love Will Find You in the End."

It was no secret that Wilco would bring in a ringer or two among the karaoke performers. The first one was Yuka Honda and a friend, who did a song off Schmilco. Truth be told, they didn't know all the lyrics, and I suspect their appearance was more to show off a rudimentary dance routine than to perform the song. I appreciated the spirit of their performance, if not the execution.

The second ringer turned out to be Sammy Tweedy for "I'm Always in Love," and he sounded great. Two years ago, we saw him sing with Tweedy on a Graham Nash song, but now he took on one of his father's tunes. I couldn't help but think of previous shows where Jeff told stories of Sammy falling asleep at gigs or asking to go home to play video games. It must be so satisfying for his loved ones to see him make his own path into the family tradition.

Last but not least, Courtney Barnett joined the band for "Handshake Drugs." Much like the other singers, she infused the song with her signature vocal style as opposed to Jeff's familiar tone. Jeff himself seemed delighted, especially when she and Nels faced off for that long guitar coda. It was a barrel of fun all around.

Wilco finished out the set in continuation of the karaoke theme; that is, they continued to project the (sometimes incorrect) lyrics behind the band. Kudos to the designer for pairing "Outta Mind (Outta Sight)" -- aka the version featuring sleigh bells -- with a snowflake pattern, and we got one more professional appearance when the ladies from Ohmme and Liam Kazar (also from the Tweedy band) emerged for "California Stars." You'll have no problem finding complaints about the premise of the set, but I'm more than willing to give Wilco the benefit of the doubt when they're trying something new at their own festival.

Wilco usually reserves its more traditional set for Saturday night, when the crowd is at its fullest. Though the band doesn't exactly have hits, repeat concertgoers recognize the more fan-favorite sets and those featuring deeper cuts. Having not seen the band for two years, I couldn't glibly characterize the set. They didn't repeat any songs from Friday night, and they mixed up the tunes with selections from across the band discography. I'm always happy to hear "Laminated Cat," especially because it feels like Wilco is reclaiming the song and not propping up the silos that sometimes exist between Jeff's many projects and writing credits.

Wilco also did a couple of new songs, and I'm not sure how to feel about them yet. Instead, I'll wait to listen to them more attentively when the new record comes out.

The festival closed on Sunday with Jeff's set. If you want to put a label on it, you might call it an extension of his solo tour from the last couple of years, and it started as such with several songs from Warm. But they soon veered into Tweedy territory, and not long after, I realized the new-sounding tunes were from Warmer, not officially released yet.

The set was billed as "Jeff Tweedy and Friends," and those friends indeed arrived, ranging from Josh Kantor (from the Baseball Project and the Boston Red Sox organist) to Amelia from Sylvan Esso to Ohmme to Scott McCaughey to Sammy Tweedy to, of course, Wilco. One of the surprises of the set was "It Must Be Love," which I mostly know as a Madness cover, but as a matter of fact, its roots go further back. Per Solid Sound tradition, they all joined in for "Give Back the Key to My Heart" and "I Shall Be Released." The two songs together were like an extended group hug.



Solid Sound both goes too fast and comes too slowly, but as long as Wilco is willing to do this, so am I. See you next time!

See also:
» Solid Sound 2017: when we came here today
» Solid Sound 2015: the whole love
» Solid Sound 2013: the boys are back in town
» Solid Sound 2011: you can tell that i'm not lying
» Solid Sound 2010: trees held us in on all four sides

set a course that i don't know

Whew, how late and wholly unnecessary is this post? But I haven't abandoned this blog, dammit, so here are my notes on Teenage Fanclub at the Fillmore as part of Noise Pop.

Teenage Fanclub, the Fillmore, February 25, 2019: Thanks to whatever is happening in the music industry these days, I bought my ticket to this show probably five or six months in advance of the performance. I felt pretty silly about it at the time, knowing full well that my beloved Teenage Fanclub would not sell out the Fillmore. Heck, the last time they came to town, they had to move the gig to the Great American Music Hall, likely due to sales. But as a bona fide early freak, I figure it didn't hurt to vote with my consumer dollars, early and often.

The crowd actually filled out respectably -- not bad for a drizzly Monday night. I suspect the Noise Pop tie-in and promotion helped, but it was still nice to see so many lovely faces (including some younger ones) at the show.

The bigger source of trepidation came after buying my ticket: The band's announcement that Gerry Love would no longer tour with them. I adore Teenage Fanclub as a group, but if you forced me to pick whose tunes I love the most, I would make a long speech about the whole outweighing the sum of its parts ... then eventually choose Gerry as the driving force behind my favorite tunes. It's not an easy call, but I know that more than a few times, I'd hear a Teenage Fanclub song, reflect on its brilliance, and realize that Gerry wrote it. Here's an experiment: Listen to Grand Prix and try to imagine it without Gerry's contributions. Not a fun thought, is it?



But now having seen the retooled band, I have to admit that there may be a bright side to the new configuration. Teenage Fanclub has released so many albums, and the fans have so many favorite deep cuts, that inevitably, we can always name a song or two that we wish they had played but couldn't accommodate at the show. But now, Norman and Raymond have much more opportunity to dig into their catalog. For example, I can't remember when I last heard "Catholic Education" or "The Cabbage." And though it'd be irresponsible to guess at whether or not they missed Gerry's presence, both Norman and Raymond appeared to be in fine spirits all evening.

But never fear, they hit us with many of their classics, including the perennial opener "About You" (speaking of Grand Prix), "The Concept," and many more. I was particularly pleased to hear "Your Love Is the Place Where I Came From." Paul recently reminded me that Nick Hornby championed the tune in Songbook, but I swear that I loved it regardless. It really is a perfect encapsulation of Raymond's hangdog appeal wrapped up in a subtle, earnest number.

In addition, they played at least one new track from their recent recording session, again minus Gerry. To my surprise, it was fairly rocking -- maybe influenced by the recording environment in Hamburg, Germany. Who am I kidding? If they come back to the United States to tour that record, of course I'll grab a ticket.

One more recollection from the evening: As "Everything Flow" began and we old fogies jumped around a ton, I had a flashback to Teenage Fanclub shows of yore (at Slim's, I believe), when the song was pretty much a green light for the ex-pats in the audience to start moshing and shoving everyone around. I'm happy to report that they did not appear to be among us that night, and I for one don't miss them, but I kind of wonder where they might be now.

See also:
» ain't that enough

this is how i tell it

From one long-running Largo tradition to a newly developing mainstay: Jeff Tweedy's annual (?) winter residency at Largo at the Coronet. Stay a while, Jeff!

Jeff Tweedy, Largo at the Coronet, January 3-4, 6-7, 2019

Now that Jeff has booked his third run at Largo, I suppose these dates no longer count as a rarity, but they remain a massive treat, and I refuse to take them for granted. I hope to make these shows for as long as I can, using as much subterfuge and obfuscation as necessary.

The fact that Jeff had played the West Coast only a few months prior, ostensibly promoting the same material, made me wonder how these shows might differ from the recent tour. Truth be told, the first night felt a bit like a continuation of that tour, albeit with a little rust as Jeff eased back into professional form. When you see Jeff and Wilco enough times, you start to recognize the standby tracks, which help both the audience and the performer(s) gain their footing and suss out one another. The first night included most of the songs that comprised the bulk of the setlist from the fall tour -- a reasonable expectation for Jeff's return.

The second night was another story altogether. Though Jeff kicked off with a couple of Warm tracks, he eventually rolled out some B-sides and Uncle Tupelo songs. However, I was gobsmacked by "Via Chicago," a song I've heard a jillion times at this point, but something about Jeff's cadence, the notes from the harmonica, and maybe even the room's reverence hit me between the eyes and moved me to tears. As much as I love the song, I can't recall the song's inherent loneliness striking me so deeply ever before. As Jeff played the final notes, Evonne and I turned to each other and discovered that we were both drying our eyes. In fact, it was so good that I barely minded the woman sitting next to me who laughed at the opening lines of the song.

I don't know if Jeff did this on purpose, but he made subtle changes to the classic tracks that night. He changed up the cadence and maybe the tunings. Actually, I don't know about the second part, but they weren't the same renditions we're used to. Maybe it was the rust again, or maybe Jeff wanted to try something new. In any case, they sounded amazing.

The somewhat complementary aspect of the first two nights led me to muse if the third and fourth nights would continue this theme, but -- spoiler alert -- they didn't. Instead, Jeff stuck to the core set, then sprinkled in deep cuts of his choice, including brand-new songs from the forthcoming Warmer, his follow-up solo record, expected this spring. Among these tracks, "One Sunday Morning" in particular stuck out to me. I mean, if you can't pull off a wordy, melancholy 12-minute (the studio version, anyway) at Largo, where can you do it? Still, it's not part of the regular rotation, so I tend to pay attention when it comes up.

No one asks anymore, but every now and then, a friend or acquaintance finds it hard to believe that I would see multiple consecutive shows by Jeff and Wilco. This time, I can point to a single song that made the whole trip worthwhile. Last year, Spencer and Sammy took the stage to sing and play a couple of songs. On this occasion, they joined their father for an old British folk tune ("Bright Phoebus," according to Paul), their voices melding in the way that only family can do. Their pride in and love for each other was visible, and I'm sure every face was smiling at the sight and sounds -- none more so than Jeff himself. Chalk it up as another Only at Largo (tm) moment.

Of course, it wasn't all sad songs, as we joined Jeff in singalongs for "Let's Go Rain" and "California Stars," among other tunes (though a couple of audience members raised questions about whether we should lend our vocals if not asked to do so). Jeff also took questions every night and shared a bunch of stories, including a hilarious anecdote about a Best Chest in the West contest at a bar he and his fellow musicians frequented after shows at Mississippi Nights. The questions on the whole, however, were less inspiring.

These shows happened to fall on the same weekend as the Golden Globe Awards, and Jeff plumbed this coincidence for tons of banter during the last two dates. But the scheduling did, in fact, result in some celebs not showing up until Monday night. Jeff had some fun with other California stereotypes, claiming to have used CBD cream for aches and pains in his playing arm. Fortunately, he reported no toilet paper deficits at the Airbnb this time.

Jeff had a different opener every night: Nick Offerman, Sarah Silverman, Tom Pappa, and Jeff Garlin, in that order. Tom Pappa was the most polished of the group, even though he subjected some of your favorite front-row faithful to his banter. The others pulled off less polished, more informal sets (which is often the case at Largo), but were all quite entertaining in their own way.

Finally, Andrew van Baal, who co-directed the Largo movie so long ago, filmed at least two of the shows from this run. It's anyone's guess how this footage will be used or even if the general public will get to see it, but at least we know it's in good hands.

See also:
» sorry charlie honey he's back from LA
» every night is a test
» early in the morning