Concert Review: Lampedusa: Concerts for Refugees 10/6/16 at the Boulder Theater

Emmylou Harris, Steve Earle, Buddy Miller, and the Milk Carton Kids kicked off their 11-stop “Lampedusa: Concerts for Refugees” tour with a tremendous, intimate performance Thursday night at the Boulder Theater. Seated together on stage, the artists swapped stories, played one another’s songs, and joked with the audience giving the show a balanced atmosphere of lightheartedness while still addressing the more serious purpose of the tour: shedding light on the continuing global refugee crisis of over 65 million people forcibly displaced from their homes.  After spending time in Ethiopia last year with the Jesuit Refugee Service, Emmylou Harris took it upon herself to champion this critical cause and even named the tour after the Italian island Lampedusa off the Sicilian coast that serves as a waypoint for refugees from North Africa, the Middle East, and Asia wanting to enter Europe. 

Taking turns playing songs by themselves and at times together, Emmylou Harris was as ravishing and fantastic as I’ve ever seen her, Earle sounded terrific especially in a beautiful performance of “Pilgrim,” Buddy Miller’s guitar playing was magnificent, and the Milk Carton kids were an excellent complement to their storied counterparts, bringing a gorgeous acoustic sound and sprinkling in witty banter that had the audience and fellow artists laughing throughout the entirety of the evening.  Hearing this lineup together on stage was truly a treat and a unique experience that will likely never happen again in quite the same manner.  This short tour through the month of October is surely one not to be missed and is a terrific opportunity to support an organization working to address a serious and deadly humanitarian crisis.

            -Kevin Powers

Adam & Natasha's 2011 UMS Wrap-ups

ADAM:  

Despite my plans to see a whole mess of bands at this year's UMS, I only managed to make it down Saturday night and didn't get to check out anyone I hadn't heard before (boo).  However, what I did see just reinforced my belief that Snake Rattle Rattle Snake and Bad Weather California are not just two of the best bands in Denver but two of the best bands around, period.  SRRS played an hour long set to about 1,000 folks on the main outdoor stage.  The crowd consisted of both fans who sang along with their favorite songs and newcomers who were quickly won over.  Frontwoman Hayley Helmericks belted out strong vocals while the rest of the band backed her up with heavy dance-rock grooves.  If you've been meaning to check them out, be sure to stop by for their free performance right here at Twist and Shout on August 16.

After Snake Rattle, I headed around the corner to the Hi-Dive for Bad Weather California's 10PM set.  I've seen BWC play several times in the past few months, including an in-store at Twist as well as opening up for the Meat Puppets, with whom they just completed a West Coast tour.  I swear, they get better every time.  Led by the energetic singer/guitarist Chris Adolf, BWC plays catchy rock tunes with a rootsy flavor, like a cross between the Flying Burrito Bros. and the Minutemen.  A Bad Weather California show is always a good time and they are worth catching whenever they play.  Earlier in the day, BWC pedal steel guitarist Adam Baumeister played a solo set as his one man band Littles Paia.  This set of John Fahey-inspired psychedelia was yet another UMS highlight.

Also worth mentioning is the DJ set by Patrick Brown at Sputnik.  Patrick spun an eclectic mix of worldly funk that put a smile on the face of even the most jaded hipster and I'm not just saying that because he's my boss.

NATASHA:

 I was at the UMS Thursday, Friday, Saturday and Sunday.  Normally for music festivals I try to approach them with a manic pace where I MUST see everything I can, but this year I had a casual approach.  Thursday I met up with a group of old friends and just tagged along to see what they were gravitating towards.  It was a good way to stop myself from going to see bands I was already familiar with.  Friday was the night to really tie one on so I started drinking booze a bit early which threw off my game.  I had one of those nights where I kept hitting the end of sets, and I only had my own drunk self to blame.  Saturday I was really able to get into the groove and I hit up as many bands and full sets as I could see.  Sunday might have been my favorite day because I was with a great group of people with similar music tastes to mine and we hit up some great performances all day and night.

I can rave all day long about how I love the Denver music scene, but this event brought it into the light.  There are bands I have seen many times who always put on a great show like Porlolo, Ian Cooke, Jen Korte, John Common, Snake Rattle Rattle Snake, or Fairchildren and they all killed it. Then there were the bands I had never seen live and they converted me into a new fan, like Mancub, the Don’ts and the Be Carefuls, Fierce Bad Rabbit, Tim Hussman, Churchill, Birdy, Candy Claws and much more.  I saw some favorite national acts like Sage Francis and discovered new faves like Colourmusic.  I felt proud of Denver and extremely grateful to the people I know who worked so hard.  I would like to thank Kendall Smith, Ben Desoto, Lisa Gedgaudas, Colin Bricker and all of the amazing folks that put the UMS together.  The only bad point about it was that it had to end.  I am already looking forward to next year! 

Paul Custer's UMS Wrap-Up

This years UMS was loaded with talent and variety. Everyone I’ve talked to had a blast and saw entirely different artists. Below are the 6 bands that did it (most) for me: 

Gauntlet Hair – Caught these Rhinoceropolis veterans at the Hi-Dive Thursday and left bewildered in the best way possible. Though they don’t love the comparison to Animal Collective, I couldn’t help but find a couple of small similarities (mainly the mixture of analog and digital drums and the frantic vocals.) But the likeness ends there, as Gauntlet Hair definitely couldn’t be further from the Beach Boys. Recently signed to Dead Oceans I highly recommend checking them out if you’re looking for a band that is incredibly unique, obsessed with rhythm and pushing boundaries. 

Accordion Crimes – Denver’s answer to Steve Albini and the DC Hardcore scene. The elements are simple: trashy guitar, a lockstep rhythm section and the unbridled vocals of a bespectacled everyman. For all of its simplicity in elemental makeup the band’s songs are packed with ideas. And, rather than beat you over the head on full blast, they deftly vary the dynamics and provide the perfect amount of dissonance.   

Hindershot – Good old-fashioned indie rock. I know that description will elicit many a groan (from myself included) but these guys are just that straightforward. Their set at Club 404 was fun – filled with hooks and plenty of smart changes and devoid of forced earnestness or cloying preciousness.  

Night Sweats – It’s rare to see a band that pull off Goth-rock convincingly, but Night Sweats from Salt Lake City blew away the small crowd at Club 404. Their sound was massive and militant in its precision. Bauhaus, Suicide and Joy Division references are admittedly lazy comparisons but I can guarantee fans of any of these bands will find a lot to love about Night Sweats.

Legendary River Drifters – Bluegrass played by punks? Metal heads revitalizing Appalachian folk? A front woman who can wail on the mic AND play the saw? Yes to all of the above. Their set at Three Kings was a joyous old time revival and packed with inspiration.

Mark Mallman – For me, the highlight of the festival and a must-see performer. We’ve jokingly coined him the “Modern Day Meatloaf” but there is so much more to The Mall Man. With piano solos that rival Jerry Lee Lewis and an insane amount of energy (he holds the record for the longest song EVER performed which clocked in at 78 hours!) Mark Mallman shows are a religious experience. His set at the Skylark was no exception as he decimated the eager crowd with some choice cuts from his catalog. He even threw in an astounding cover of Peter Gabriel’s “Sledgehammer” for good measure.

Paul Custer 

Berstler's UMS Wrap-Up

There are very few things better than tromping around South Broadway for four days, beer in hand, listening to new bands, and seeing some Denver regulars.  With SO MANY performances to see, it was nearly impossible to not find a time or place to dig on great music.  The 2011 UMS was a total win that, dare I say, could have been longer.  I had such a blast that I can't help, but want more UMS!  However, I can be grateful for what we got this year and just look forward to next year.  In the meantime, here are my simply put performance praises.

Thursday 7/21:

Gauntlet Hair at Hi-Dive – These guys were pretty damn fun.  They had a bit of a time getting their groove, but pulled it together long enough to make a danceable set.

Wire Faces at Hi-Dive - I chanced upon this show coming back from Club 404, where Kitten was supposed to be.  I was pleasantly surprised at how put together and talented these chaps are.  It was a great, energetic set, and I recommend checking this band out.

Royal Bangs at Hi-Dive – It took these guys a while to get warmed up, but the last three songs of their set were pretty good.

Hujje at Delite – These two guys put together a great dirty electro set that was worthy of a bigger dance floor.  It was good ole bangin' club music.

Friday 7/22:

Epilogues at Goodwill – This band is blowing up recently for a reason.  They have catchy, alt rock songs and a lot of energy on stage. 

Chimney Choir at Irish Rover – This cute bluegrass three-piece put on a great performance that was perfect to kick back a pint with. Lively fiddle playing with strong wailing vocals.

Band Bajha Brass at Skylark– HOLY WOW! This group was amazing!!! Bollywood-inspired music with a small horn section, including a tuba, a bass, two drummers, a keyboardist and some outstanding vocals! This group had the whole of Skylark moving.  Easily one of my favorite performances of the UMS!

Kingdom of Magic at 3 Kings – These guys put on an awesome, trippy set of psych-metal.  Considering the tempo of their style, I was excited to see the energy these guys performed with. 

Gardens & Villa at Hi-Dive – Another reason the UMS was amazing!  They successfully used a recorder in their indie rock set. Win.

Cat Naps (formally When I Was 12) at Irish Rover – I think this band put on my favorite performance of the UMS.  They are an adorable four-piece of indie pop-rockers from Philadelphia.   The music was light-hearted with a bite, dual female vocals and a lot of playing with accent instruments like the xylophone among others.  It was just damn fun!  And now I have a new band to obsess about. Check out their new EP here: http://thekey.xpn.org/2011/06/the-key-studio-sessions-catnaps-formally-known-as-when-i-was-12/  

ManCub at Delite – Smooth electronic dance.  ManCub put on a great set that drew an excited crowd.

Saturday 7/23:

Tulip Wars at 3 Kings – Cute Canadian band that played bluegrass-influenced rock.  They were talented and the lead singer, despite the lack of a crowd, seemed to have fun just talking to who was there. 

King Mob at Illiterate – They were fun and dancey.  I like that the lead singer owns his unique sound.

I Sank Molly Brown at Hi-Dive – drum-heavy rock with great vocals.  These guys are talented!

Photo Atlas at Hi-Dive – Definitely one of the better rock performances I saw at the UMS.  These guys professionally laid down a rockin' set that had everyone in the place moving.  

Night Sweats at Club 404 – This Salt Lake group was the best thing I saw at 404. They played out this New Wave and indie sound that was hard not to fall in love with.  I can't wait to see these guys again!

Patrick Brown at Sputnik – Oh PB, I love ya!  Thanks for spinning an amazing set of dancable world music. It made my night! 

Dendrites at TS Boards – AWESOME! Considering this HUGE band was half-crammed into a nearly toppling over truck and the other half was in the crowd, these guys put on quite the show!  Denver Ska at its finest. The whole crowd was shakin’ their asses.

Chavez y Chavez at Delite – fun electro!

Mr. Pacman at Club 404 – Crowded - from what I could hear, was pretty damn fun.

Magic Cyclops at Skylark – From what I could tell while being intoxicated outside of the Skylark, these guys were putting on a really loud, energetic set.  

Sunday 7/24:

Oliver Vanity at TS Boards – Considering the oppressive heat and the lack of a crowd, these guys tried to make the best of it.  Their fans got them popsicles.  Cute.

Khaira Arby and Her Band at Goodwill – AMAZING! Easily one of my favorite performances of the UMS.  All the way from Timbuktu, this world-renowned group kicked out the best afro-beat set that I have ever had the pleasure to watch and hear.  PLUS, she danced with a bowl, yay!

False Colours at Skylark – These guys were VERY energetic, and had some great catchy emo-like rock to throw at us.  They reminded me of early Finch albums.  Great performance.  

Ideal Fathers at Indy Ink – Loud, talented Screamo/Punk band.  They were consistently loud and hard, despite the afternoon heat turning Indy Ink into a sauna.

Galaxies at Delite – Despite the name, this is just one guy with A LOT of instruments and a great presence.  This guy had a lot of fun, dancey, experimental music to share and an amazing ability to interact with his audience.

Wheelchair Sports Camp at TS Boards – HOLY CRAP! I didn't initially intend to see these guys, assuming the name was just some ironic indy titling.  Luckily, I had a friend there.  This group was phenomenal! Comprised of a badass turntablist, a sax player, a drummer and an MC of approximately three and a half feet in a wheelchair.  Yes, that's correct.  Despite the initial novelty of the line-up and name, this group was amazingly talented. The lead's unique vocals with a sax and some great scratching made this band stand out on talent alone.  

Flashlights at Club 404 – This duo was a nice indie electro come down for my UMS experience. 

I can't stress how much fun the UMS was this year!  The crowds were enthusiastic, even in temperatures over 100 degrees, the venues were great and easily accessible, and the whole vibe was just festive. Thanks to everyone at the Denver Post who makes it happen.  I can't wait til next year! 

Berstler.  

63 Bands in 72 Hours

Some people go to large music festivals to see the headliners, or to see one of their favorite bands. I tend to look at them more like a big all-you-can-eat buffet, where I have the opportunity to try out a bunch of bands all at once. So when I went to the Underground Music Showcase this year, I tried to sample as many bands as I could. Me being me, I mainly looked to see as many local bands as I could, but since the vast majority of the 300+ bands that were performing were local, that still meant a lot of picking and choosing.

So I tried to play it smart this year. I had the schedule pulled up on my smartphone, and had a preliminary list of bands I might want to check out typed into the phone as well. I also brought along my camera, so I could take pictures of all the bands I saw, which would help me remember what the bands sounded like. Then, I plunged in.

1. Fierce Bad Rabbit - Skylark Lounge, 9pm Thursday

I was familiar with their work, but hadn't seen them live before. Very impressed - great catchy rock tunes. Wished I could stay for the whole set, but other bands were waiting.

2. Serious Moonlight - Irish Rover, 9pm Thursday

I was half-expecting a Bowie cover band, but no. I found out later it's a side project of a lot of other local musicians (including Alan Andrews from Photo Atlas). As it was, I was stuck way in the back, and got only occasional glimpses of band members. I liked what I heard, thought.

3. Gauntlet Hair - Hi-Dive, 9pm Thursday

At any festival such as this, there are what might be termed "must-see acts". But these acts often end up being "can't-see acts", because the venue gets packed. That was the case here. What I heard was pretty intriguing, but I was stuck around the corner from the stage, and couldn't hear very well (and couldn't see at all). So I leaned around the corner, took a photo, and moved on.

4. Don'ts and Be Careful's - Hornet, 9pm Thursday

This was a band that I'd heard some material by, and thought they were just-OK. After seeing them perform live, I'd nudge them up a bit. Solid performance, and the crowd was clearly enjoying themselves.

5. Wire Faces - Hi-Dive, 10pm Thursday

While I was walking between bands, somebody strongly suggested I check this band out. I'm glad I did. Cool indie-ish rock. I later found that the lead singer of Fierce Bad Rabbit used to be in the Jimi Austin with a couple members of Wire Faces. The scene can get a bit incestuous at times...

6. Seismic Event - Hornet, 10pm Thursday

This band is hard to describe without sounding like I'm deriding them. They're VERY straight-ahead pop. You can picture hearing their songs on TV shows and romantic comedies. But they're very good at it, and I'm quite a pop fiend, so I enjoyed the set. Which I guess makes them the "weird" band at the festival by not being weird in the slightest. (Not a single hipster beard or mustache in the group!)

7. Monroe Monroe - Skylark Lounge, 10pm Thursday

I've seen this band a few times now, and they're never less than good. Some straight-ahead rock with a side of urgency and a slight dollop of complexity. Another good set from them.

8. Nathan & Stephen - 3 Kings, 11pm Thursday

Formerly Hearts of Palm, which was formerly...Nathan & Stephen. It gets kind of complicated. Anyway, it was sort of a reunion show, and it was ragged but tons of fun for all involved.

9. Oh No Oh My - Hornet, 11pm Thursday

One of those bands that I thought might be local until they mentioned that they weren't. When they said they were from Austin TX, I contemplated yelling "Go back to South By Southwest!", but didn't. Mainly because they weren't bad at all.

10. Ha Ha Tonka - 3 Kings, midnight Thursday

Another non-local band (Missouri) but they've gained quite a few fans here in Denver, partially because local band Meese toured with them. A goodly number of those fans showed up for this late night show. There were some major issues during sound check, and once they were finally solved, the MC decided it was time for a lengthy intro. (Hint - after a lengthy sound check at midnight, nobody is interested in lengthy intro, let alone an ostensibly "witty" one.) Five minutes into the set, however, all of that was forgotten, and a good time was had by all.

-By Alf Kremer

Check out his full review 63 Bands in 72 Hours >>> link here: http://www.facebook.com/note.php?note_id=10150315893182246

Rose Hill Drive Wrap-up

Rose Hill Drive returned to Twist and Shout for the third time. We have watched this superb Boulder based band grow from impressive teenagers with a pile of bad- ass gear to a confident pro band in league with the big boys. In my estimation they could stand shoulder to shoulder with a band like, oh, Kings Of Leon any day. They played about 35 minutes of songs from their gritty new album “Americana”, which we sold a bunch of during the course of the event. The band has an edgier sound now, which really adds a modern vibe. The largest crowd they’ve played to at Twist and Shout ate it up. The years of touring and sharing the stage with bands like The Who, Van Halen and Stone Temple Pilots has given the band a stage presence that matches their ever expanding chops. For those of you who have come to all three instores with Rose Hill Drive, you will be able to say, I saw them when…

-Paul Epstein

photos by Tony White whitegardenphotography.com

Bad Weather California live at Twist and Shout 5/24 wrap up

Bad Weather California played at Twist and Shout last night to a crowd of 70 folks. There was a family reunion vibe as Denver came together to celebrate the release ofDemos and Live Takes for the Fans. This super exclusive vinyl has artwork hand-made by the band and some covers even have their own blood mixed in. Nothing like giving your blood to the craft... But that kind of sums up what Chris Adolf gives to BWC- his blood, sweat and tears. Though there was a lot of laughter and fun here last night. As Chris put it several times "This is WAY more fun than I thought it would be". That always leaves us with a sense of pride, not only are in-stores an enjoyable experience for the music fans, but for the musicians as well. We sold a great amount of the vinyl, which has a really good sound quality for a demo/ live takes album. The band rocked, the crowd danced and people had a great time!

the images above by Tony White http://www.whitegardenphotography.com

check out http://www.badweathercalifornia.com/ and have a great one!

-Natasha

Ryan Bingham at the Ogden 2/25/11

After the in-store at Twist & Shout, Ryan Bingham and the Dead Horses greeted another packed house at the Ogden where their performance was anything but laconic. The Silent Comedy, who must have walked out of a turn-of-the-century ghost town, heated the stage. Their revivalist-gone-cabaret style cycloned the crowd into a frenzy as Liam Gerner, the young Australian singer-songwriter, and members of the Dead Horses joined them on stage and in-crowd for their last night on tour. Then, out came the unassuming Ryan Bingham crew. With the same humble greetings and down-cast eyes he presented at Twist, Bingham, now in cowboy boots and a vest, proceeded to rock the house.

The band played from all albums, but with the intensity and glow of performers who have figured out how their music plays live. The mellow tunes from Junky Star, including the most recognized “Hallelujah” and “Depression,” were delivered intensely and passionately and songs from the old albums, Roadhouse Sun and Mescalito, roared out from the stage. After a brief solo-performance where Bingham sang the long-awaited “The Weary Kind,” the band came back on stage to toast the Denver crowd and finish out their long and powerful set. Judging from the reactions of a few in-store folks who came to see Ryan Bingham with no idea who he was, the band surely had their share of converts and re-baptized those who have been following them since their dusty days in the southwest.

And maybe that was the greatest aspect of the show – how an incredibly diverse crowd that sprawled across age and social barriers – all heard something fresh and exhilarating. Before the show started, a cadre of cougars guarded their seats with the fierceness of den mothers, a few guys with shaved heads pushed each other around, and young men guarded their doe-eyed mates, in fear of the magnetic Bingham charisma. Watching all this, a security guard remarked, “Yup, there’ll be lots of fights tonight.” Yet, as everyone realized that this is a band that exceeds all expectations, that this is band that is made of “Bread and Water,” not just “The Weary Kind,” everyone finally settled in, beers were raised, whiskey slung, and the band took us all on a crazy ride.

- Lindsay Christopher

Ryan Bingham Live at Twist & Shout 2/25/11

When one of my employees came in and said “There’s a bunch of cars in the lot with Wyoming license plates” I knew something was up. Usually when we have an in-store everybody shows up at the last minute. For this up-and-coming country star though, people were here at least an hour before show time. By the time the unassuming Mr. Bingham strolled on stage and looked kind of bemused by the size of the crowd there were close to 300 people packing the vinyl room. Ryan did not disappoint. He played about a half hour of his world-weary country blues. I really didn’t know what to expect, but by the time it was over I realized this guy was the real deal - in a Townes Van Zandt kinda way. He has real presence, although absolutely no pretensions whatsoever. His songwriting and laconic delivery shine as the star of the show. He was tremendously nice to the many people who stayed around to get stuff autographed. Unfortunately for us, all the fans seemed to own all three of his excellent albums already - so sales were a bit peckish, but when an artist plays with this much heart and soul and his fans come out in such force, we would be foolish to complain.
-Paul

Flaming Lips’ Freak Out 2011

For the last five years or so, my wife and I have stayed in on New Year’s Eve. But not this year. To celebrate what we hope will be an important, breakthrough year for us, Allie and I packed up the car and drove down to Oklahoma City to catch the annual Flaming Lips’ Freak Out.

The prospect of this adventure reminded me of one I took 24 years ago to Oakland to see the Grateful Dead for the first time in my life. The story’s worth repeating here because it (briefly) involves a certain high school teacher who went on to own a certain kick ass record store. I lied to my mom to get her permission to go, telling her my friend Dave was going with me. I went alone. I was 18. At the first show of the four-night stand I sat front row center in the balcony at the Henry J. Kaiser Auditorium. I kept thinking I was dropping stuff out of my pockets. So did the guy sitting next to me. But when we looked under our seats, we saw nothing. Also, my lap melted. I kept hoping to run into my teacher, but I didn’t until the last night, New Year’s Eve. I ran up to him, all skinny and out of breath, wearing a very loud button down shirt I’d made my mom buy for me on a trip to the Aurora Mall. We only talked for about 15 seconds, but I’m quite certain I succeeded in adding an unexpected and abiding level of terror to my teacher’s night. 

Anyway, the Lips’ Freak Out was an amazing trip from start to finish. From before the start, actually. It takes about six hours to drive from Kansas City to Oklahoma City. On the morning of our trip, an ice storm had passed the Flint Hills between Emporia and Wichita. The sun broke through the clouds just as Allie and I arrived there and it backlit the frozen grass, making the countryside glow. We found a classical music station with a signal that spanned the entire state. 

After checking into our hotel and eating Chinese food, we drove a long, two-lane city street into downtown Oklahoma City. As we got closer, a skyscraper emerged from dark horizon with its windows lit in the form of a cross. Then a second cross-bearing tower appeared. There was road construction everywhere, traffic beacons flashing orange light. It felt as if we were sneaking past a post-apocalypse Mount Cavalry to participate in a semi-clandestine cosmo-pagan ritual.  

We had to park a few blocks away from the concert. We walked toward what we thought was the concert venue, a hulking arena that glowed dramatically, but a security guard directed us to a squat and boxy convention hall. There were no ticket takers at the door. We entered a long hall full of people milling around, some in winter coats, some with glittery green cardboard hats. A man with a cowboy hat stood near an escalator singing and playing guitar. Doors along the left side of the hallway opened to several large ballrooms, each with a stage at the end of it. One room was full of junior-high-aged kids, another was full of black families. An easel placed outside one of the rooms held a placard that read, “Meridians New Year’s Celebration.” We caught glimpses through the doorways on the right side of the hall of a spectacular light show and we could hear the muffled throbbing of a rock and roll show. 

I can’t overemphasize how weird this was. To walk into a familiar space, a generic convention space in need of a remodel, and to find among the normal and mundane festivities a space that is completely overtaken by unbridled strangeness—my god, it was beautiful.

Inside, Allie spotted a bunny. I saw Jesus dressed in red Converse high tops. Just about every other person wore a necklace with a green strobe light amulet. We grabbed a couple of beers, found our seats, and settled in to take in the scene. The arena lights were dimmed and Miles Davis’s On the Corner was cranked on the sound system. Great big balloons bounced on the crowd in front of the stage. Giant smiling flowers and caterpillars wandered around near the sound board. On stage, men in prison jumpsuits checked wire connections and every once in a while one of the members of the Flaming Lips would come out and fiddle with an instrument. Michael Ivins thumbed a handful of low notes that shook the air and drowned out Miles. Wayne Coyne grabbed a confetti gun and shot it into the air. He tested a camera that was attached to his microphone. The half-circle screen behind the stage filled with the image of his face. He said, “Just so everybody has an idea of what’s going to happen, we’re going to come out and play until right before midnight, then we’re gonna sort of stop; we’re basking in a sort of New Year’s glow and love and we’re floating in this room together. Then we’ll come back out and play The Soft Bulletin.” 

“He’s like a pre-school teacher,” Allie said.

The arena went dark and the screen behind the stage filled with the image of a naked woman who glowed bright. She danced. A point of light emanated from her vagina and grew in size and intensity as she laid down and spread her legs toward the audience and so that the members of the band could emerge from her one after another. A clear membrane rose from the center of the stage with Coyne struggling inside, pushing against the sides of it, forcing it into the shape of a bubble. He stood and walked toward the edge of the stage, the bubble rolling under his steps like a hamster ball, and he stepped off onto the crowd. The audience’s hands glowed green under the stage lights. Allie told me she thought it looked like a sea creature.

They played “She Don’t Use Jelly,” “Yoshimi Battles The Pink Robots Pt. 2,” a bunch of cuts from Embryonic. The flowers and giant bugs we’d seen earlier stood in clusters on both sides of the stage and danced. Coyne told us “There are people at home at their computers wishing they were you.” A bear picked him up and carried him around on its shoulders while he sang, and then whispered in his ear as a man and woman dressed in luminescent garments walked out onto the stage. “Mr. Bear told me these people are here to be married by the Flaming Lips,” Coyne said. The woman wore a green veil and the man had a long, white beard. “By the power vested in me as the unofficial master of my universe,” Coyne said, raising a hand like a preacher, “I hereby do proclaim that this man and woman realize they’re floating in space.” The Lips closed the set with the song the “floating in space” line comes from, during which I looked around and saw a man a few rows back dressed in a corduroy blazer with streaks of tears running down his face. A woman grabbed his hands and squeezed them tightly. 

At a few minutes before twelve, huge balloons came cascading down the risers behind the stage and onto the crowd. Coyne told us, “The balloons could not wait to come down and join the fucking party.” He said that it was time to sing a song. “We don’t know the words to this song,” he said. “But you’ve got to sing this song every New Year’s Eve. Come on.” After we all sang, countdown clock filled the screen and it ticked off sixty seconds, at the end of which I kissed Allie, and then the numbers counted upward from zero to 2011. As the numbers flashed, Allie and I thought of all the epochs of history that we could remember. At 1968 I shouted, “I was born.” At 1973, “You were born!” 2000: “We met!” 2007: “We were married!” 2011, “Happy New Year!” That moment, we later learned from someone with an iPhone, was the actual stroke of midnight. 

The Lips came back on at about 12:30 to play The Soft Bulletin, an album I’d always liked but had never loved in the way I love Yoshimi and Embryonic. In this setting, though, it was entirely new. They began with a prelude, a soft and lovely variation of the opening riff of “Race for the Prize.” Coyne told us that they could never make another album like this one because it was made during a period of extreme highs and lows and artistic exploration that can only happen once in a lifetime. Throughout the performance of the album he paused to tell tales from that time and to give insight to the songs. Before each verse in “The Spiderbite Song” he told the story behind it and professed his love to his bandmates, both of whom nearly died during the time the album was being made. When he did this the screen behind was filled with his face so we could all see his sincerity starkly. During “What is the Light?” the whole place went dark. Drops of light dripped from the ceiling and the stage filled with a galaxy of starlight that exploded outward, swirled around and collapsed into itself to form the words of the song, one word at a time.

When we got back to the hotel we found a Twilight Zone marathon on the SyFy Channel. It was still going the next morning. In the free-breakfast room by the lobby I eavesdropped on some kids who had driven down from suburban Kansas City to catch the show. A couple of them said they’d left early. The Soft Bulletin isn’t their favorite record, one of them explained. That night, when we got home, Allie and I listened to the album and it was as if I’d never heard it before. I always thought it sounded thin compared to their later works. Genius in aspiration, I thought, but played by a band not yet accomplished enough to realize their vision. But this time, on a new (for me) stereo, it revealed itself as the perfect masterpiece that it is. I thought back to the concert, remembering how it felt to hold Allie and sway with her to the music. In Oklahoma City, I kept wishing that they would release a live recording of the show, preferably on vinyl. And that would be great. But unnecessary. 

All that’s left for me to do now is to by it on LP to — as an old high school teacher of mine once said — “properly consummate the relationship.”

Phish In Chicago

Just to put this review in perspective, I’ve only seen Phish once, and that was a free show at the Glenn Miller Ballroom in 1990. It was a snowy night and I doubt there were more than a hundred people there. I was into drums at the time, so I spent the whole show standing right by the drummer, watching him work. He was wearing a super hero costume complete with cape and goggles. He kept smiling and nodding at me. I’ll always remember it as one of my life’s supercool rock and roll moments, even though I honestly didn’t care too much for the band. I thought they were kind of goofy, and not exceptionally skilled or talented.

Flash forward 20 years. I’m up against the stage again, looking up at Jon Fishman’s drum kit, but now it’s a soccer stadium in Chicago filled with more than 20,000 Phish freaks for the start of a summer tour. The band takes the stage and whips up a few seconds of cosmic feedback before busting into “Down With Disease,” then “Wolfman’s Brother,” and then “Possum” — all great dance songs, all delivered with a mastery possessed by only the rarest of rock gods. I’ve listened to a lot of their recordings, live and studio, in the weeks and months leading up to the show, so I know they’ve improved considerably. But live I can really see why they’ve amassed such a loyal following, especially during “Possum,” the way they build and build a peak of sonic tension until the crowd’s about to explode, so when they finally break into the main riff whole place just goes crazy, everybody dancing, balloons, beach balls and glow sticks flying everywhere. It’s like they’ve developed a sixth sense of where the energy is in their audience and they can plug right into it and zap it up into a frenzy or mellow it out into a state of bliss, like they do later in the first set with the more ethereal passages in “Reba” and “Divided Sky.”

Speaking of the crowd, the main reason why I steered clear of Phish for so long was to avoid the whole psychedelic vagabond scene, which seemed to get more and more obnoxious throughout the 1990s. I’m happy to report, though, that this crowd at Toyota Park is pleasant to be around, convivial and neighborly, kind of like how I remember the Grateful Dead scene in the mid-80s, right before it got really crazy.

However, about midway through “Boogie On Reggae Woman,” I have a tense little run-in with Snow White. She squeezes in beside me in her blue dress and pig tails and grabs hold of the rail, saying to me, "I'm Snow White," as if this gives her some kind of privilege. Then she proceeds to wave the sign of the horns at the band. She's blitzed out of her gourd. I watch her out of the corner of my eye, kind of irked, kind of amused. But before I realize it, she's got both hands on the rail and I'm totally squeezed out of my spot against the stage. I think about it for a second and I'm like, Hell, no! I baked for two hours under carcinogenic star to get this space. So I work my elbow around her, like I'm Dennis Rodman or something, and I box her out. The security guard in front of us sees me do it and he gives me an approving nod and says, "Right on man." He's one of those strapping skinhead types, so I feel kind of macho, despite the fact that it's a pathetically drunk fairy tale character I've muscled out. Undaunted, she starts caressing my back. I turn to her and snap, "Don't touch me! I'm married!" And I hold up my hand to show her my ring. She apologizes profusely and she vanishes off into the crowd, leaving me with yet another great rock and roll moment to stash away in my archives.

Great as the first set was, it isn’t until the second set that I really get it. I hate to sound like a space cadet, but I have to confess that the first four songs — “Light,” “Maze,” Ghost,” and “Prince Caspian” — transport me far beyond the suburbs of Chicago. The first three are long improvisational vehicles, and the jam passages have a distinctly visual quality for me, partly because of the mesmerizing light show, but mostly because of way the band takes a pattern of rhythms and melody and gradually distorts it, pulling it into new shapes and spaces. It’s at once hypnotic and invigorating. And then, after about forty minutes of shape shifting and trippy lyrics, to emerge onto an anthemic, majestic sea with Prince Caspian. 40,000 hands waving in the air, not a white eye in the place. Man! Worth the 50 bucks. Worth the 500-mile drive. Worth getting molested by a sloppy-drunk Brothers Grimm character. When do I get to see them again?

I’ve heard a number of longtime Phish fans fret that the band’s best days might be behind them. I wasn’t there for the so-called glory days of the late 90s, so I can’t say for sure. But I get the sense that Phish is a band on the brink of something huge. A rock opera, perhaps, or an epic concept album with a corresponding run on Broadway (or, better yet, at the Uptown Theater in K.C.) and Blu-ray DVD. I might be wrong but I see hints of it in “Time Turns Elastic” (which, unfortunately, they didn’t play in Chicago) and in their tight, masterful control of time and space at a stadium concert on a hot, humid night. Their best, I think, is yet to come.

- Joe Miller

Me'Shell Ndegeocello at Boulder Theater

Meshell Ndegeocello played to an eager crowd at the Boulder Theater on October 21st. This beautiful old school venue bustled as the openers Sonneblume rocked out. Sonneblume is a local band that provided a good contrast to the bass-playing diva; they rocked pretty heavy with a lot of distorted electric guitar flourishes. But they did share a common thread in that the lead vocalist was also a female bass player. Ndegeocello’s set was a serious hit to the senses. Her band was comprised of some serious players that are all on her latest album Devil’s Halo. The new album ventures forth, just like her music always does, into new planes and new dimensions. Ndegeocello is known as one of the all time top R&B bass players (of either gender), an experimental pioneer mixing genres to always create something new. But there has been little mainstream acknowledgment of the super creative spirit who lies behind the music. With Devil’s Halo she has branched into some extremely straightforward rock/pop territory but her sensual soul tendencies are all still as vibrant as ever. The album contains heavy lyrics that give you goose bumps like “I hope you all die young,” but within her songs and within the serious vibe you get a transcendent feeling through the truth that she lays down. Don’t let this album or this artist pass you by.

--Natasha

Flight of the Conchords at Red Rocks 16 May 2009

A par for the course magical evening at Red Rocks, slightly marred by lots of people who made me feel old and overly sober. What are they all doing out on a school night, anyway? OK, so it was a Saturday, but still you see my point. Apparently, lots of tweens and so forth are able to look up from their sexting activity long enough to turn on their Television sets and tune in to Flight of the Conchords on HBO. And apparently, there are several youthful types who like indie-folk godhead Iron & Wine, too. Must have downloaded it on one of the internets or on their "I-pod" or some such thing. Seriously though, is it TWICE as illegal to be underage and inhale an outlawed substance? Food for thought.

Despite my apparent fogey status, I too enjoyed the delightfully hirsute singer-songwriter Iron & Wine, real name Samuel Beam. Reminded me a little of Phil Ochs, or perhaps a male Buffy Sainte-Marie. Too arcane a reference for you? Well, I can assure you that Mr. Beam has heard of them. It is entirely possible that I will walk into an actual record shop and purchase an actual three-dimensional CD by this talented chap. Wow, are they making vinyl again? How about that. Where was I? OK, next up was Dave. He told some off-color jokes which we all laughed at, because the sweet twilight hour was upon us, and things were getting that way. No, he was quite excellent and segued perfectly into the headlining act; "FOTC." It was their explicable Antipodean charm that had caught the attention of my wife who then decided to drag me out to the middle of nowhere for all of this. And, I am very glad she did, because it was a lot better than the time she made me sit through that Beck concert, me thinking it was going to be Jeff Beck. No, really, these boys have something going on. They opened up in a very theatrical manner, vaguely reminiscent of Starlight Express or early Genesis, but without all of the complicated chord changes and rollerskates. The rest of the concert, however, was mostly stripped back, with lots of commentary and chuckles. It all came over very well, and despite some questionable language, they had some lovely tunes which everyone seemed to enjoy very much. Really, though, must we swear so? Apparently we must. At this point, I started feeling a little sleepy so I had to wonder why everyone has to stand up the whole time. I mean, can't we all just sit back and listen? Anyway, I would certainly recommend these boys to anyone who likes hearing real music played by real musicians. I might even try and catch the show on TV, although I don't have a TIVO thing on my VCR, so I'll have to stay up to 10 O'clock and actually watch it at the time they chose to show it.

Also, it was a tad on the chilly side.

- Ben Sumner