My roommate/cousin, in addition to providing valuable guidance to this former Rock Band/Guitar Hero neophyte, is a pretty good sport about coming to shows with me. It's only fair, then, that I reciprocate when possible--in this case, to see Jenny Lewis.
Jenny Lewis, Herbst Theatre, October 28, 2008: Even as a so-called young 'un, I enjoyed, at best, a tenuous connection with youth culture (exhibit A: my teenage advocacy of Nick Lowe), and it's only gotten worse through the years. Not that I'm particularly fixated on trends, but this mindset can be problematic when you draw your lifeblood from discovering new, exciting bands or performers.
In the case of Rilo Kiley, all I know is that at some point, I started hearing more about them, but I may have associated them with the likes of The O.C. (the television series) and assumed there was no place for me in their fanbase. This extended to Jenny Lewis' solo career. (See also: Death Cab for Cutie.) Mind you, this judgement has nothing to do with the quality of the music--only my silly hangups over the intended audience.
Of course, this isn't the first time--nor will it be the last--that my shortsightedness has kept me away from listening to worthwhile music for longer than need be (hello, Son Volt!). I'm still not convinced that I'll nurture more than a passing familiarity with Rilo Kiley's material, but I wouldn't mind lingering over Jenny's solo catalog.
I freely admit that it all starts with Jenny's captivating voice, despite my ambivalence over female singers in general. On a handful of songs, her singing was so smooth, though, that the tunes almost veered into adult contemporary, but they were the exception rather than the rule. At their best, her vocals ebb and flow with such ease and grace that you assume the words are pure autobiography--how else could anyone sing so convincingly of such events and recollections?
Personally, I neither know nor care how much of her words are rooted in true events; all that matters is that they sound like they are. I can't think of a better example of this than the song "Acid Tongue," featuring Jenny on acoustic guitar and the rest of her band gathered around her and a single microphone to contribute harmonies. Then again, I'm a sucker for that busking vibe.
She filled out her set of tracks from her two solo albums with the Gram Parsons cover "Love Hurts," accompanied by her boyfriend and bandmate Johnathon Rice, and a new song whose title I didn't catch. Though Jenny is often considered an indie rock pinup, the most ardent fans at this show appeared to be of the female persuasion. One shouted out a marriage proposal from the balcony, though most seemed content to cheer her on. I can hardly blame them; her mix of talent, confidence, and individuality is hard to resist.
The show featured two openers. Pierre de Reeder, also from Rilo Kiley, kicked off the proceedings, and Beechwood Sparks filled out the roster. Pierre turned out a catchy, well-paced set, but I can't say the same for Beechwood Sparks. I wanted to like them, especially now that I've cast off most of the Brit-leaning preferences that dominated back when I saw them open for Saint Etienne (or am I hallucinating that show?). Instead, I found it hard to maintain my interest as one song flowed into the next.
See also:
» searching for light in the darkness of insanity
» i see my light come shining
Friday, October 31, 2008
Wednesday, October 29, 2008
i see my light come shining
Certainly, no one city has a lock on unique music events, whether it's Hoboken hosting Yo La Tengo's annual Hanukkah shows, Chicago putting on the Hideout Block Party, or Los Angeles and its gem, my beloved Largo, to name just three examples. But can you blame me for swelling with civic pride over my local attractions? Trailing the Hardly Strictly Bluegrass Festival by just a few weeks, the Bridge School Benefit took up its annual residence at the Shoreline Amphitheater, and for the second time, Wilco was part of the bill.
Wilco, Bridge School Benefit Concert, October 25-26, 2008: I spend a lot of time on this blog deriding certain types of venues, but I have to come clean: Growing up in the South Bay, I went to a number of shows at the Shoreline Amphitheater, including my first concert ever, Duran Duran/Erasure in 1987. As for other artists I've seen there, I plead the fifth. No further comment, thank you.
But I can tell you not only exactly how many times I've returned to Shoreline in the last five years, but also for what reason. I've been back twice--both times for Bridge School and both times for Wilco. But you already guessed that, didn't you?
A lot has happened to Wilco since the group's 2003 appearance, including new band members (Nels Cline and Pat Sansone), new releases, and maybe even a new standing in the industry--maybe. Regardless, it was good to have the guys back in the general neighborhood a mere two months after their Outside Lands appearance. The feeling appears to be mutual, as Jeff shared how much they enjoy playing "this market." (Sweet nothings!)
Then again, the gig shared some characteristics with their Bridge School debut. For one, they played an entirely different set each night; also, they tried out some unreleased songs, which means I've now heard four songs possibly from their next album. I won't spend too much time trying to describe the new songs, especially since MP3s are floating about the Internet, except to say that they betray, once again, diverging influences within the band and a dark tone to Jeff's lyrics.
I've certainly seen enough Jeff Tweedy shows that I know how the songs sound in a solo acoustic setting, but I think this may be the only time I've heard the entire band unplugged as well. For example, Glenn manned a smaller drum kit, and Nels had none of the gadgets and gizmos with which he augments his sound. Meanwhile, Mike and Pat took turns at a baby grand, an old-fashioned upright, and a gorgeous pump organ for their contributions.
The two songs that sounded the most changed were "Heavy Metal Drummer" and "I'm the Man Who Loves You." Jeff sort of prepped us for the former, admitting they had never tried it before, but Glenn did a good job of filling in where the samples usually start the song--and he twirled his drumsticks, much to the delight of all four of us who noticed! The band sped up "I'm the Man Who Loves You" to a pace more akin to Jeff's solo cadence, and of course, it went out to Susan Miller Tweedy, in attendance that day.
My favorite element of their show, however, was the pump organ. I was told it came from Neil's own collection, and several acts used it. In Wilco's set, it imbued the band's songs with a novel and beguiling element, especially on the likes of "Hummingbird" and "California Stars."
The band--or rather, Jeff--suffered a couple of minor gaffes, such as almost forgetting a line in "What Light" and referring to Pegi Young as "Patty," but they're only human. It certainly gives us something to talk about. Jeff's sarcastic sense of humor was on full display the first day, but the whole band seemed looser and more joyful the second. And who could blame them? I'd be beaming too if I knew that Neil and Pegi Young were set to join in for "I Shall Be Released" to close their set. I don't think I could've asked for a more perfect ending. Also, it was the first time I've felt a pang of regret knowing that I won't be able to make any of their shows together coming up in the next few weeks.
Of course, there were quite a few other musicians scheduled for the weekend, and it should come as no surprise that Neil Young himself rightfully garnered the lion's share of acclaim. He opened and closed the festivities, and he was especially busy on the second day, when he joined nearly all the performers on one song per set. These shows couldn't happen without him, but at the same time, he doesn't have to do as much as he does. I'm glad he chooses otherwise, however.
It was my first time seeing Death Cab for Cutie and Norah Jones, both of whom defied my expectations based on cursory knowledge of their repertoire. Death Cab is one of those bands who I always assumed wouldn't be my thing, and besides, they grew far too successful far too quickly for me to investigate anyway. But their sound was tougher in parts than I expected, and I could even see the appeal of their delicate teen anthems.
Norah Jones probably could've gotten a pass just for covering Wilco's "Jesus etc." but I liked that she chose to highlight her rootsier influences and not the silky adult contemporary jazz that everyone assumes of her. Her backing players were pretty awesome too.
Cat Power and Smashing Pumpkins, both of whom I've seen in concert several times, were treats too. I haven't attended a Cat Power gig for a few years now, having tired of the emotional meltdown known as Chan Marshall's live show, but I gotta say she was noticeably more pulled together. She even jumped into the crowd on the second day--a big difference from her formerly withdrawn, retreating stance. And of course, her voice was as beautiful as ever. I almost didn't recognize the new arrangement for "I Don't Blame You" that opened the first show, and she was the first to get Neil onstage, with "Fortunate Son."
The Smashing Pumpkins are often a love-them-or-hate-them proposition, but for this acoustic setting, they shed a large chunk of their bombast. I can't say I'll ever love Billy's voice, but the songs themselves were engaging and appealing. I would've liked it even better if they hadn't imposed Josh Groban on us for the closer "Disarm," the only hit among a set comprising new titles and obscure album tracks, but then again, that Billy Corgan has always been a contrary bastard.
Both nights ended with the group sing-along, and I was pleased to see Jeff Tweedy not only show up the second night, but take his place at the microphone as well (albeit with a forceful helping hand from Nels Cline). I guess his "rift" with Norah Jones had been repaired, as they shared a microphone for one of Neil's numbers. Chan even brought her dog out for the finale! And can I mention how much I loved the Native American dancer?
You won't find me beating a path back to Shoreline too soon, but for this weekend, it felt good to be back under the tent.
See also:
» play one more for my radio sweetheart
» rosin smells and turpentine smells
» there's a dream that i see
» all of those yesterdays coming around
Wilco, Bridge School Benefit Concert, October 25-26, 2008: I spend a lot of time on this blog deriding certain types of venues, but I have to come clean: Growing up in the South Bay, I went to a number of shows at the Shoreline Amphitheater, including my first concert ever, Duran Duran/Erasure in 1987. As for other artists I've seen there, I plead the fifth. No further comment, thank you.
But I can tell you not only exactly how many times I've returned to Shoreline in the last five years, but also for what reason. I've been back twice--both times for Bridge School and both times for Wilco. But you already guessed that, didn't you?
A lot has happened to Wilco since the group's 2003 appearance, including new band members (Nels Cline and Pat Sansone), new releases, and maybe even a new standing in the industry--maybe. Regardless, it was good to have the guys back in the general neighborhood a mere two months after their Outside Lands appearance. The feeling appears to be mutual, as Jeff shared how much they enjoy playing "this market." (Sweet nothings!)
Then again, the gig shared some characteristics with their Bridge School debut. For one, they played an entirely different set each night; also, they tried out some unreleased songs, which means I've now heard four songs possibly from their next album. I won't spend too much time trying to describe the new songs, especially since MP3s are floating about the Internet, except to say that they betray, once again, diverging influences within the band and a dark tone to Jeff's lyrics.
I've certainly seen enough Jeff Tweedy shows that I know how the songs sound in a solo acoustic setting, but I think this may be the only time I've heard the entire band unplugged as well. For example, Glenn manned a smaller drum kit, and Nels had none of the gadgets and gizmos with which he augments his sound. Meanwhile, Mike and Pat took turns at a baby grand, an old-fashioned upright, and a gorgeous pump organ for their contributions.
The two songs that sounded the most changed were "Heavy Metal Drummer" and "I'm the Man Who Loves You." Jeff sort of prepped us for the former, admitting they had never tried it before, but Glenn did a good job of filling in where the samples usually start the song--and he twirled his drumsticks, much to the delight of all four of us who noticed! The band sped up "I'm the Man Who Loves You" to a pace more akin to Jeff's solo cadence, and of course, it went out to Susan Miller Tweedy, in attendance that day.
My favorite element of their show, however, was the pump organ. I was told it came from Neil's own collection, and several acts used it. In Wilco's set, it imbued the band's songs with a novel and beguiling element, especially on the likes of "Hummingbird" and "California Stars."
The band--or rather, Jeff--suffered a couple of minor gaffes, such as almost forgetting a line in "What Light" and referring to Pegi Young as "Patty," but they're only human. It certainly gives us something to talk about. Jeff's sarcastic sense of humor was on full display the first day, but the whole band seemed looser and more joyful the second. And who could blame them? I'd be beaming too if I knew that Neil and Pegi Young were set to join in for "I Shall Be Released" to close their set. I don't think I could've asked for a more perfect ending. Also, it was the first time I've felt a pang of regret knowing that I won't be able to make any of their shows together coming up in the next few weeks.
Of course, there were quite a few other musicians scheduled for the weekend, and it should come as no surprise that Neil Young himself rightfully garnered the lion's share of acclaim. He opened and closed the festivities, and he was especially busy on the second day, when he joined nearly all the performers on one song per set. These shows couldn't happen without him, but at the same time, he doesn't have to do as much as he does. I'm glad he chooses otherwise, however.
It was my first time seeing Death Cab for Cutie and Norah Jones, both of whom defied my expectations based on cursory knowledge of their repertoire. Death Cab is one of those bands who I always assumed wouldn't be my thing, and besides, they grew far too successful far too quickly for me to investigate anyway. But their sound was tougher in parts than I expected, and I could even see the appeal of their delicate teen anthems.
Norah Jones probably could've gotten a pass just for covering Wilco's "Jesus etc." but I liked that she chose to highlight her rootsier influences and not the silky adult contemporary jazz that everyone assumes of her. Her backing players were pretty awesome too.
Cat Power and Smashing Pumpkins, both of whom I've seen in concert several times, were treats too. I haven't attended a Cat Power gig for a few years now, having tired of the emotional meltdown known as Chan Marshall's live show, but I gotta say she was noticeably more pulled together. She even jumped into the crowd on the second day--a big difference from her formerly withdrawn, retreating stance. And of course, her voice was as beautiful as ever. I almost didn't recognize the new arrangement for "I Don't Blame You" that opened the first show, and she was the first to get Neil onstage, with "Fortunate Son."
The Smashing Pumpkins are often a love-them-or-hate-them proposition, but for this acoustic setting, they shed a large chunk of their bombast. I can't say I'll ever love Billy's voice, but the songs themselves were engaging and appealing. I would've liked it even better if they hadn't imposed Josh Groban on us for the closer "Disarm," the only hit among a set comprising new titles and obscure album tracks, but then again, that Billy Corgan has always been a contrary bastard.
Both nights ended with the group sing-along, and I was pleased to see Jeff Tweedy not only show up the second night, but take his place at the microphone as well (albeit with a forceful helping hand from Nels Cline). I guess his "rift" with Norah Jones had been repaired, as they shared a microphone for one of Neil's numbers. Chan even brought her dog out for the finale! And can I mention how much I loved the Native American dancer?
You won't find me beating a path back to Shoreline too soon, but for this weekend, it felt good to be back under the tent.
See also:
» play one more for my radio sweetheart
» rosin smells and turpentine smells
» there's a dream that i see
» all of those yesterdays coming around
Saturday, October 25, 2008
damn you for being so easygoing
For someone whose mission in life is to hunt down typos and safeguard subject/verb agreement, I miss some big ones. For example, I was sure that these two Andrew Bird shows were scheduled for Saturday and Sunday, and I banked on catching the Saturday appearance. So much for those plans! On the bright side, I got an extra lazy day in Los Angeles, and it was totally worth the brutal wake-up call to make my Monday morning flight back home.
Andrew Bird, Largo at the Coronet, October 19, 2008: I easily concede that I'm a latecomer to Andrew Bird's music, but my appreciation has really solidified in the last couple of years. All those shows with Wilco last year and earlier this year didn't hurt, but it really started with a cupcake.
Somewhere along the way, probably after that first time I saw him, it hit me that I'd been a fool to skip his gigs at the old Largo, even that secret show taped for the Largo film that I couldn't have crashed anyway. Really--what was I thinking? Granted, there may have been some concerns about finances and vacation time and other pesky details, but as regular readers already know, I welcome those issues. Oh well, now came the time to make up, at least in part, for those missed opportunities.
And really, if you're going to right your concert wrongs, what better place to atone than at Largo? Not too surprisingly, Andrew started with "Why" and another older song, but that's all it took before he went to the new titles from his forthcoming album, which he mentioned he had finished only two days before. In fact, he debuted five or six new songs, complete with explanations--or as much as he could put in words. Several of the songs referred to the natural world, including one that was inspired by blind, translucent lizard who lived in the caves of Texas and that oddly reminded him of himself. Go figure.
Inspirations aside, the songs were, in a word, sublime, but that's about the only thing I can report about them, as the titles have slipped my mind in the last couple of days. I think one might've been called "Fits and Starts," and there were some references to nature in the other songs. I wish I could say more; all I know is that they were gorgeous, and I can't wait to hear how they sound with a full band.
The older songs, oddly enough, gave Andrew the most trouble. He restarted "Plasticities," for example, a number of times before he found the rhythm he needed (it sounded fine to us). Not that he needed to, but he made up for these imagined shortcomings with lots of laid-back chit chat, eager to share his thoughts on songs old and new. The Largo audience, of course, welcomed them with respectful silence, followed by eager applause.
Opening the show was Haley Bonar from the Twin Cities. I knew nothing about her going in, but she won me over by the end of her set, with her clear, strong voice and charming melodies. She also joined Andrew for one song, accompanying him on electric piano.
See also:
» thinking of traveling by land
» i've run out of metaphors
» turn our prayers to outrageous dares
» we'll fight for your music halls
Andrew Bird, Largo at the Coronet, October 19, 2008: I easily concede that I'm a latecomer to Andrew Bird's music, but my appreciation has really solidified in the last couple of years. All those shows with Wilco last year and earlier this year didn't hurt, but it really started with a cupcake.
Somewhere along the way, probably after that first time I saw him, it hit me that I'd been a fool to skip his gigs at the old Largo, even that secret show taped for the Largo film that I couldn't have crashed anyway. Really--what was I thinking? Granted, there may have been some concerns about finances and vacation time and other pesky details, but as regular readers already know, I welcome those issues. Oh well, now came the time to make up, at least in part, for those missed opportunities.
And really, if you're going to right your concert wrongs, what better place to atone than at Largo? Not too surprisingly, Andrew started with "Why" and another older song, but that's all it took before he went to the new titles from his forthcoming album, which he mentioned he had finished only two days before. In fact, he debuted five or six new songs, complete with explanations--or as much as he could put in words. Several of the songs referred to the natural world, including one that was inspired by blind, translucent lizard who lived in the caves of Texas and that oddly reminded him of himself. Go figure.
Inspirations aside, the songs were, in a word, sublime, but that's about the only thing I can report about them, as the titles have slipped my mind in the last couple of days. I think one might've been called "Fits and Starts," and there were some references to nature in the other songs. I wish I could say more; all I know is that they were gorgeous, and I can't wait to hear how they sound with a full band.
The older songs, oddly enough, gave Andrew the most trouble. He restarted "Plasticities," for example, a number of times before he found the rhythm he needed (it sounded fine to us). Not that he needed to, but he made up for these imagined shortcomings with lots of laid-back chit chat, eager to share his thoughts on songs old and new. The Largo audience, of course, welcomed them with respectful silence, followed by eager applause.
Opening the show was Haley Bonar from the Twin Cities. I knew nothing about her going in, but she won me over by the end of her set, with her clear, strong voice and charming melodies. She also joined Andrew for one song, accompanying him on electric piano.
See also:
» thinking of traveling by land
» i've run out of metaphors
» turn our prayers to outrageous dares
» we'll fight for your music halls
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