low key

Comparatively speaking, I didn't see too many Tweedy shows on this tour, but the date at the Cocoanut Grove in Santa Cruz helped assuage any regrets.

Tweedy, Cocoanut Grove, March 19, 2015: You'll have to forgive the nostalgic detour preceding the concert report, but I can't resist. You see, growing up in San Jose, we spent a lot of summers in Santa Cruz, particularly the boardwalk where the Cocoanut Grove is located. I have strong memories of my uncle packing me, my brothers, and the dog into the car (at first, a vintage convertible MG -- clearly before child seat laws! -- later giving way to a burnt orange Volkswagen Scirocco) for the drive over the mountains and out to the beach, where we happily jumped into the ice-cold Pacific waters. Later, as a teenager, my oldest friend moved to the woods outside of Santa Cruz, which brought a whole different set of memories. Santa Cruz, you will always have a place in my heart.

And for those of you who are a certain age: The Lost Boys was filmed here.

I decided on the title of this blog post long before I hit the freeway (I'm a managing editor -- so sue me for managing my own edits), but the concert itself felt like the exact opposite at times. In terms of square footage, the Cocoanut Grove might've been bigger than the Fillmore, but with the bar and another room (overlooking the beach) extending out from the main quarters, the usable space was a fraction of the total expanse. I imagine it would be good for wedding receptions or sales conventions, but not so much for a gig. In other words, it was not exactly an ideal concert venue.

But the stage was low, so if you were close to the front, the show felt strikingly intimate -- and the audience let the band know. From almost the first note, a woman a few rows in immediately, loudly, and repeatedly called out for "Gun," and numerous requests for birthday wishes followed. Jeff obliged them and engaged in a couple of exchanges about cheesemaking (it's Santa Cruz, after all) and other topics before preemptively wishing all of us a happy birthday, ad infinitum. I think the crowd finally got the message after Jeff said something to the effect that they still had a concert to get to.



The most egregious audience interaction came during Jeff's solo set, when apparently a guy to his far left called out his name, got him to look, and took a photo. Long story short: Jeff asked that the guy be removed, and after some confusion over whether security was taking any action all, someone was escorted out. For what it's worth, Jeff gave a long explanation about wanting to give us the best performance possible, and the guy's shenanigans wouldn't allow him to do so. I'm probably biased, but I don't think enough obnoxious people are removed from concerts. Later, Jeff made light of the situation, saying he hoped they got the right guy, but he'd leave it to the Innocence Project to figure out the guilt of the party.

Anyway, the music! First of all, yes, Jeff played "Gun" during his solo portion, and I was totally thinking of "Whole Love" earlier that day -- nice of Jeff to be on the same wavelength, even if he didn't get to "I Got You" until Los Angeles. (Boo!) Back in single-night mode, we got a mashup of the two San Francisco shows, with what I imagine as the favored tracks winning out.

The covers particularly stood out for me in Santa Cruz. I haven't mentioned the Diane Izzo track "Love Like a Wire" before, which is a major oversight. I don't know much about Diane Izzo or her tragic story, but in Tweedy's hands, the song is a gorgeous, soaring pop hit, complete with an irresistible melody and buttery harmonies. I hope a proper version is eventually released.

The Minus 5 added an unexpected touch to a handful of tracks. On his own accord, Scott McCaughey took over for the absent Sima Cunningham on "Low Key" and "The Losing End," perhaps surprising the members of Tweedy as much as the audience, judging by the goofy grins they gave each other as he snuck onstage. Then in the encore, Peter Buck threw on the Gibson for a resoundingly jangly "California Stars" -- probably one of the best guest contributions I've heard on the song (trust me, I've heard lots of them).

Speaking of the Minus 5, they worked a little Easter egg into their set: a cover of the Modern Lovers' "Roller Coaster by the Sea," which happens to be set at the exact same site as the show. Other than Scott, the other band members looks fairly astonished by the selection, and I heard Peter Buck say he had forgotten it was on the setlist. Kudos for them for the wink and the nudge!

And thus draws an end to my Tweedy dates, at least until Solid Sound. Given the means, I could probably go for a few more, but should the band never tour again, I can say I got to as many as possible.

See also:
» my mother's sister's husband's brother
» are you scared? are you frightened?
» summer noon

are you scared? are you frightened?

This doesn't happen very often -- a Jeff Tweedy project taking a year to reach the Bay Area, one of his most dedicated fan bases. Granted, Tweedy made its only West Coast appearance last year with the date at Hardly Strictly in October, but that barely scratches the itch for some of us. Nope, we want the full two-hour treatment, complete with encore. Perhaps to make up for the absence, Tweedy gave San Francisco two dates at the Fillmore, and all was right in the world again.

Tweedy, the Fillmore, March 17-18, 2015: Think of your favorite bands or performers. Then think of how many of their side projects you choose to check out. Overall, the ratio is pretty low for me, unless you are related to Wilco and are headed to my town. Even then, the interest can vary widely (see: Autumn Defense). Hell, I skipped some Nels Cline shows in the past few months, but Jeff Tweedy is another matter all together.

I'm going to resist the urge to make comparisons between Wilco and Tweedy. Obviously, the seeds are there, and you can draw a direct line between the songs, but that's kind of boring. In fact, I'll make only one connection between Tweedy and Wilco: Both bands foster an informal, comfortable atmosphere -- more kin than corporation. In fact, when Jeff started in with a few jabs at Liam Cunningham, he had to inform us sensitive Californians that's how they show affection in the Midwest.

I generally avoid potential spoilers for gigs, steering clear of all reports preceding the concert, and Tweedy was no different. However, the blueprint for the band had been set out with the Hardly Strictly slot: mostly songs from the record, with an acoustic segment, and wrapped up in a full-band reprise. In this more formal setting, we got more of both. I was particularly excited to hear tunes from Sukierae, as the Hardly Strictly set didn't allow much time for the newest tracks. As a bonus, over two nights, the band naturally played rarer songs that wouldn't necessarily get a chance in a one-night stand.

Two examples: "Slow Love" (we did well with the backing vocals, and I coincidentally adore the song) and "Pigeons," which hardly ever happens (I'm told). Among the everyday tracks, it's no stretch to call "Diamond Light" the coolest song in the set. It offers a fantastic contrast to all the waltzes (Jeff's note) on the record, and Spencer gets to show off his prodigious drumming skills -- killing all suspicions of nepotism. The rapport with Darin Gray and both Tweedys is also a pleasure to watch and a bonus atop the tune itself.



The kinda hits "Summer Noon" and "Low Key" were fun and delightful, but a couple of other tunes off the record surprised me. Jeff's voice and lyrics jumped out from the simplicity of "Fake Fur Coat," and I loved how the storytelling of "Nobody Dies Anymore" rolled out at its own pace (even when the Fillmore's air conditioning kicked in at full throttle in the middle of the song on the second night).

OK, I'll make one more Wilco comparison: As with Wilco's early tours, Tweedy fills out the single album of material with Jeff's solo set, then caps off the evening with beloved covers. The solo set can be far-ranging, though he has a few favorites ("I Am Trying to Break Your Heart," "Remember the Mountain Bed," "One Wing," "Hummingbird," "I'm The Man Who Loves You"). "Lost Love" (for which I campaigned so strenuously 10 years ago) put a huge smile on my face the first night, and "Radio King" was a request granted to a woman in the audience. Also, no one I know ever complains when an Uncle Tupelo track makes an appearance.



One advantage to hitting both shows: You get the full range of covers, which meant both Doug Sahm and John Lennon. The latter has been one of my favorites since I was a teenager, and changing "Yoko and me" to "Spencer and me" was a sweet touch. Regarding Doug Sahm, how awesome does it sound with full band backing?! You don't have to answer that.



As you can imagine, the show had its share of diversions. The first night, a young brother-and-sister duo (aged 10 and 8, respectively) made their way to the front and somehow knew all the words to the Neil Young cover. They and their parents became a comedic foil to Jeff for much of the night, in good fun of course.

The second night (which wasn't even St. Patrick's Day) saw a more boisterous crowd, who decided to clap along to "Forget the Flowers," with predictable results. Jeff threatened to switch to one of his rhythm-less dirges to discourage the efforts, but ended up mocking them with his version of their beat-keeping. In all, we ended up with a three-part rendition of the song: (1) bad clapping; (2) spoken word; (3) traditional. As usual, I've killed all the comedy, but believe me, it was a hoot to witness. Also, Jeff had a running commentary on the (small) school of flies swarming to his unwashed mass -- again, funnier in execution than in my description -- which inspired a concert-goer to throw a pack of Handi Wipes onstage.

We got different openers over the two nights at the Fillmore. The first evening, Eleanor Friedberger took the honors, and she was fantastic. It's been a while since I've listened to the Fiery Furnaces, but compared to their sound, she was more straightforward and accessible. She brought up memories of Patti Smith for many of us, partly because of her hair and her voice, but also with the directness and power of her set. She was thrilling and revelatory.

The second night, the Minus 5 took the stage, with yet another lineup: Michael Giblin, Linda Pitmon, and Peter Buck joining Scott McCaughey. They played it fairly straight, though Jeff had to remark on their surprise addition of Neil Young's "Revolution Blues" when Tweedy came to "The Losing End." As far as I'm concerned, Linda Pitmon stole the show. She totally rocked it, most notably when both Scott and Peter's guitars went out at the same time.

Was Tweedy worth the one-year wait? You know it! Lucky for me, I had one show left on this tour. Stay tuned!

See also:
» summer noon
» it's been a while
» low key

twilight's all right

If I've said it once, I've said it a thousand times: The last night of any multiple-night stand will probably be the best. Mark my words.

Scott McCaughey, Thee Parkside, February 28, 2006: The gig was advertised as "an evening with Scott McCaughey," but it was a badly kept secret that the rest of the Minus 5 would show up, and it took only a brief gander across the small room to see their faces. Alas, Robyn Hitchcock couldn't make it, but considering his ties to the Bay Area, he probably has a full schedule around town.

Scott McCaughey and Thee Parkside are meant for each other. You may know Scott; now picture a neighborhood bar far from the hustle and bustle of downtown. It holds no more than 100 people but probably much fewer. In the corner is a sliver of a stage that's raised about six inches off the main floor and barely fits a drum kit. In fact, the majority of the band has to stand at ground level, directly facing the audience, who watch from less than a foot away. Also, the band has to perform with no monitors, as there simply isn't enough space. Thee Parkside makes Largo look like the Royal Albert Hall. Of course, I love the place.

Last night's gig was superfun, but it was definitely Robyn's show. In contrast, this was the Minus 5 I know and love. Surprisingly, they were nowhere as drunk as I've seen them in the past. There was no setlist, they took a ton of requests from the audience--though they passed over my call for "I Wish I Was Your Mother," as they couldn't remember it--and they invited Roy Loney (formerly of the Flamin' Groovies and the Phantom Movers) to the stage for a couple of roaring songs. Their choice of covers ran the gamut, but the majority could've been ripped right out of the liner notes from the Nuggets box set. My favorite was probably the Beatles' "You Can't Do That," but of their own songs, I loved hearing "Got You." If I had felt more enterprising, I might've requested "Great News Around You," but I was pretty happy with the choices. They did "Rifle Called Goodbye" for the first time ever, according to Scott, and they attempted "Aw Shit Man" as fast as they could.

Larger rooms can be cool, but I've found that the smaller the venue, the more intense the gig. At the least, I notice certain details more readily at these intimate shows. Maybe it was a product of listening to Joe rave about the rhythm section before the show, but at Thee Parkside, I heard Bill Rieflin's drumming loud and clear in a way that Jon Wurster hadn't delivered the other times I've seen the Minus 5. In turn, Bill Rieflin was a far way off from Glenn Kotche, who conveys a lot more subtlety and nuance than just about any drummer I've seen. John Ramberg was excellent as always, adding to the team at every level, whether on guitar or vocals (lead and harmony). Scott was his normal jocular self, making up stories and fielding banter. However, Peter Buck showed little of the fire he had the night before. It's kind of fun to see him on bass, but he didn't seem quite as engaged as the other guys in the band. Also, he wore head-to-toe black leather, including a ruffled shirt. Ummm, yeah. To his credit, however, I think he suggested "Teenage Kicks," which was loads of fun.

If the Minus 5 stays on track, they should be back in the Bay Area around 2010. See you then.

See also:
» you won't have an atom left

you won't have an atom left

I almost made it to a show not related to my twin musical obsessions. Instead, I ended up selling my Supergrass ticket, Cat Power cancelled, and I hadn't intended to go to the Robert Pollard show anyway. No big whoop on any of them--I've seen them all, in one form or another, a million times. However, I managed to hit the gigs that combine my two favorite fixations. I'm nothing if not consistent (ha!).

Robyn Hitchcock and the Minus 5, Slim's, February 27, 2006: Robyn Hitchcock and the Minus 5 are, of course, very loose affairs at best; the latter consists of whichever musical pals Scott McCaughey can coerce into recording and/or going on the road with him, and the former is often a subset of the latter.

I finally saw the Minus 5 with and without Wilco a few years ago and was won over. Ahhh, that pajama-clad show at Cafe du Nord, my career-threatening injury at the Abbey Pub, and the ensuing 15 seconds of fame at the Bowery Ballroom--what's not to love? There's also the matter of their not coming around often, so you take what you can.

For this tour, they served as the openers and as Robyn's backing band. It's a seemingly unusual arrangement, but Scott and friends know the drill. On their tours with the Young Fresh Fellows and Tuatara, for example, the difference between the openers and the headliners amounted to a few swapped instruments and little else.

As openers, the Minus 5 played a longer set than the usual warm-up act, though they skipped a few songs on the setlist. Scott took lead guitar and vocal duties, John Ramberg and Peter Buck (on guitar and bass, respectively) re-inked their contracts, and Bill Rieflin manned the drums. Gone was Ken Stringfellow; Jim tells me he's with the reformed Big Star these days, but the band dedicated "A Thousand Years Away" to him anyway.

I gotta say: Peter Buck looked hot (sorry, Sooz!). His hair is shorter, he's lost some weight, and he sported some bling (two small gold hoop earrings). He seemed kinda louche on the bass, at times crouching on the floor, at other times contorting himself into Karate Kid-worthy shapes. Julie speculated that he's been doing yoga, but I detected hints of posturing.

Compared to the shambolic gigs I've seen previously, the Minus 5 managed to keep it together admirably. Scott didn't bear his usual fifth of Maker's Mark, though he had a glass of some doctored cocktail/elixir to treat his throat, and Peter drank mere tumblers of red wine, as opposed to taking swigs straight from the bottle; then again, they still had half a show to get through.

They played a lot of songs from the new album, as well as older tunes. I think all their songs should be hits and could listen to them delve deeper into the catalog, but that'll be another show. Scott namechecked Jeff Tweedy during the show for not being around to do his guitar solo on "With a Gun"; he also mentioned the Amoeba story. Personally, I missed Jeff's vocals on "The Town That Lost Its Groove Supply."

For someone who's not exactly a Robyn Hitchcock fan, I've seen him a lot, usually in association with someone that I really dig, such as the Flaming Lips, Grant Lee Phillips, and Jon Brion, to name three. In contrast, the crowd at Slim's was definitely there for Robyn. As usual, he wore an atrocious shirt (though it doesn't hold a candle to Jon Brion's jacket). He started off by himself on acoustic guitar, covering a Syd Barrett song. After a few more solo numbers, the Minus 5 (sans John Ramberg) joined him onstage. This time, Scott took the bass, and Peter grabbed the lead guitar.

I can't compare Peter's performance to that other gig he's kinda known for, but to my ears, he sounded fantastic, churning out the jangly, melodic notes that made so many people fall in love with a certain band from Athens, Georgia, in the first place. My friend Joe mentioned what a treat it was to hear Peter cut loose, especially on the 12-string, and Jim said he was surprised that Robyn turned over so much of the lead guitar duties to Peter. My admittedly underinformed impression of Robyn's body of work is that he writes quirky, folksy songs, but with Peter on guitar, the tunes had a lot more teeth than I expected and could even pass for pop songs--in a perfect world.

They ended the set with the crowd pleasers: a cover of "Eight Miles High" and the Soft Boys' "I Wanna Destroy You." And when we thought that they had packed up, they invaded the stage once again for a final cover and a true Minus 5 moment. Scott took the lead guitar and vocals, Peter sat rather awkwardly on drums, Bill took bass guitar, John came back to the fold, and Robyn sang and flapped his arms around.

One down, one more to go. I can't wait.

See also:
» unplug the jukebox and do us all a favour
» Take Me Home, Country Pigeon
» top 5 Largo memories