Top 13 Concerts of 2013

I am blessed to be able to see a lot of bands each year.  Checking out new music is one of my favorite hobbies.  This year's "Best Concerts" lists showcases 13 acts (for 2013)- several of which I've seen before, and several of which are bands I've seen for the first time.  All of the shows have previously been reviewed on this blog- along with pics and video links.  Below is a synopsis of my favorite performances.

All photos compliments of "Gigshots by Stephen Bloch" unless otherwise noted.

13.  Fort Frances- Club Garibaldi, 11/2/13
Fort Frances is a band on the rise, and their mixture of  indie pop/rock and Americana made for an evening of fun music at Club G's.  A trio of proficient musicians, Fort Frances delivered a riveting set of tunes drawing heavily from their 2013 EP's Habour and Breaking Room.  Lead vocalist David McMillin's story-telling style of vocals works well with the music of this band.  These guys are great-fun live, and are about the nicest folks you'd want to meet in the music biz too.  As an aside, introducing this act was a real pleasure as well.  I look forward to seeing what Fort Frances comes up with in 2014 as their music seems to be continually progressing forward.

photo by Will Piper

12. Valerie June- Club Garibaldi, 12/14/13
Valerie June might be one of the hottest younger acts of 2013, and her soulfully intimate performance at Club Garibaldi was a special night of music.  Aside from physical looks and charm, June can deliver a stand-out performance with great guitar work, and a southern vocal that filled the small room.  I was amazed with how tight her back up band was and what a truly personal performance this was.

11.  The Shouting Matches- Turner Hall Ballroom, 8/1/13
Justin Vernon's blues-rock trio, "The Shouting Matches" proved to be about as entertaining a blues-rock act as I've ever seen.  Great musicians produce great music, and while Vernon's album is solid, yet not exceptional on its own, the live renditions of numbers were exceptional.  You can't ask for more energy and enthusiasm for blues-rock than you got from the Shouting Matches.  Their performance rivaled seeing the Wallflowers or Big Head Todd in their heyday.

10.  Charles Bradley- Turner Hall, 5/3/13
The "Screaming Eagle of Soul" is an entertainer's entertainer if there ever was one.  While I have to say that his 2012 performance was a bit better, he put on another top-quality, soulful show at Turner Hall.  I credit Bradley's music for my renewed interest in soul music.  Bradley's sophomore release A Victim of Love featured brighter tracks that translated well with his audience.  His backup band, "The Extrodinaries" have come into their own as a great rhythm and blues unit as well.



9.  Grizzly Bear- Pabst Theater,  4/2/13
Grizzly Bear falls into the same category of acts like Portugal, the Man, and The National, who made a big leap forward in terms of their live performance in 2013.  Last year's Shields was on the top of many music critic's lists, including mine.  Live, the tracks from Shields came across even better than on the album. Grizzly Bear does a fantastic job harmonizing among its vocalists, and a much improved light show aided to the overall entertainment value of this top-tier indie rock act.

8.  Pickwick (opening for Black Joe Lewis)- Turner Hall Ballroom, 9/30/13
In what will go down as the best surprise of the year, Seattle's Pickwick performed a knock-out set opening for Black Joe Lewis.  Pickwick's soulful, bluesy sound, catchy melodies, tight rhythms and powerful vocals got the crowd rocking at Turner Hall, and frankly, upstaged a very good performance by Black Joe Lewis.  Pickwick's debut album, "Can't Talk Medicine" also appears on my best albums list.  This is definitely an act to watch in the years to come.



7.  The Violent Femmes/The Avett Brothers/Edward Sharpe & Magnetic Zeroes
- Marcus Amphitheater, 6/26/13
The eclectic conglomeration of a hometown-hero alt-rock pioneer band, the hottest American Americana act on the road today, and a virtual traveling circus proved to be the right combination to make for a memorable summer's evening at the Marcus Amphitheater.  Top performances from each act, made this triple-bill one of the best Summerfest shows I've seen.  When I was there, I did not think that I would be witnessing what could be the last show featuring all of the original members of the Violent Femmes (until the next time they choose to reunite).  However, while solid, the Femmes were upstaged by perhaps the most consistent act out there today, the Avett Brothers, who put on an energetic show once again from start-to-finish.  Edward Sharpe and the Magnetic Zeroes opened the show with good vibes and sing-a-long anthems.  What more could you wish for from a Summerfest show?



6. Jim James- Pabst Theater, 4/19/13
The events that occurred after the Jim James show (an unfortunate slip on my daughter's "Friday Folder" which sent me down my basement stairs with the granddaddy of all messed-up arm injuries) does not overshadow the fact that Jim James delivered a riveting performance at the Pabst earlier that evening.  Jim James' solo material from Regions of Light and Sound of God is both similar and different to the cannon of material we've become used to from the My Morning Jacket front man.  James' solo material contains a lot of almost hypnotic jamming when performed live.  Some tunes that were only 4 minutes on the album were doubled or sometimes tripled in length when performed live.  James is an extraordinary song-smith and was a very engaging performer with his solo backing band.



5.  Portugal, The Man- Pabst Theater, 
In my humble opinion, no band made a bigger jump up the indie rock radar in 2013 for fans and critics than Portugal. The Man.  While these guys have been putting out solid psychedelic-folk-rock-blues with catchy pop hooks for several years, working with Danger Mouse on Evil Friends elevated this band to the next level in terms of accessibility.  Moreover, their live performance, which was already stellar, took a step up with an unbelievable set that featured a myriad of lights and a female vocalist who enhanced the band's sound.



4.  Tame Impala- Turner Hall Ballroom 3/3/13
For a young Australian band with only two full-length albums out, Tame Impala sure came across as a polished live act, delivering an engaging set of tightly played psychedelic rock.  There were solid jams that made this show flow from start to finish, anchored by tracks from two very strong records, Lonerism and InnerSpeaker, along with other numbers from their EPs.  Tame Imapala reminds me a bit of a younger My Morning Jacket with more of an edge towards rock.  Their sound continues to progress, making them an act to continue to follow into the new year.

Photo by Will Piper

3.  Father John Misty- Turner Hall Ballroom 5/20/13
While there is no denying Fear Fun was one of 2012's best albums (and in retrospect, the album I have most enjoyed from last year), hearing J. Tillman on record does no justice to seeing the man perform.  Father John Misty was perhaps the most over-the-top showman I've seen all year. And despite the theatrics and silly dancing, the man can sing like none-other, making this Turner Hall performance a truly special evening that surpassed my already high expectations.

2. The Black Crowes- Riverside Theater 11/8/13
It had been way too long since I had seen The Black Crowes live... almost ten years I would guess had passed since I last watched them perform at Summerfest.  A resurgent interest in their catalog (thanks mostly to one of my music partners-in-crime, Stephen Bloch) peaked for this show.  Whatever the Crowes are doing these days, they're doing it right, as their performance was more spirited and energetic than when I saw them in 1995 at the height of their commercial stardom headlining H.O.R.D.E. Fest (with a little known band from Illinois named Wilco joining them onstage for a Little Feat cover). This show was about as rock 'n roll as they come!

1. The National- Riverside Theater 8/5/13
This was a "no contest" for show of the year as it was truly an exceptional endeavor, and one of those concerts that allows the Pabst/Riverside/Turner Hall group to use the tag-line "legendary venues: legendary performances" for good reason. I had previously seen the National a few times... at the Pabst Theater on the tour for their acclaimed record, The Boxer, at the Riverside supporting High Violet and opening in Chicago for Arcade Fire, and was very familiar with their material and act.  However, while the band has always been good, during this tour their confidence, playing and showmanship got ratcheted up a notch, moving them to the "next level" of indie rock bands.  Touring in support of one of the most acclaimed records of the year, Trouble Will Find Me, certainly didn't hurt either.

Valerie June- Club Garibaldi, December 14, 2013

What's not to like about Valerie June?  She is an extraordinary guitarist, passionate lyricist, and is one of the most humble performers I've ever met.  Her Tennessee roots and southern charm were evident the moment she entered the "full-to-the-gills" Club Garibaldi.  Looks and charm aside, as soon as she began playing the guitar, she engaged the crowd with her tremendous talent.

Opening with some slower tracks, Valerie June held a normally noisy venue in the palm of her hand, with the audience quietly hanging on every note from he guitar and every word of her stage banter.   As expected her set drew from her debut record, Pushing Against A Stone, a critically acclaimed record which ranks among my favorite releases of 2013.   

Valerie June blends together southern rock, folk, gospel and blues into her songs.  Pushing Against A Stone, was another album produced this year by Black Keys' front man, Dan Auerbach, and the pop blues style of the Black Keys can be seen in some of Valerie June's work.  While many tracks on Pushing Against A Stone feature large ensembles of instruments (horns, keyboards, etc.) June's backing band was a simple arrangement of drummer and bass player.  This intimate arrangement allowed for a more "stripped down" feel to many of June's tunes.  Notable highlights included "Working Woman Blues" and "You Can't Be Told," the breakthrough hit off of Pushing Against A Stone.  

Valerie June is a white hot act whose musical stock continues to rise.  Recently, she was booked to open for Sharon Jones and the Dap Kings on her tour.  This will bring more attention to a great up-and-coming act who hopefully will be making more stops in the Brew City in the years to come.

Grade: A

Will's Top 13 Best Albums of '13:

Ah, like the Lexus December to Remember Sales Event commercials where people surprise their significant others with fancy cars donned in big red bows, so 'tis the season for "Best of Albums" lists. Like 2012, 2013 for me was a year of a lot of "good" albums, but not really any albums that I would deem as mind-blowing.  That said, the field of "good" albums was very strong this year.  Since it's 2013, I offer you my top 13 picks of the year.

13. Thao and the Get Down Stay Down- We The Common
Thao Nguyen and her bandmates could make an argument for being a "house band" in Wisconsin this year, with a headlining gig at Turner Hall this past spring, a headlining gig at Lebowski Fest this summer, and opening spots for Neko Case at the Riverside and The Head and the Heart at the Orpheum in Madison this fall.  We The Common is a catchy, upbeat collection of narrative songs which resonate even better live than they do on the album.



12. Valerie June- Pushing Against A Stone
Memphis singer-songwriter Valerie June exploded on the scene in 2013, fueled by her 88.9 Radio Milwaukee hit, "You Can't Be Told," and a very solid album of blues-infused folk-gospel-soul-rock. Dan Auerbach of the Black Keys produced this record, and his catchy-bluesy influence can be felt on many of the tracks. There is a soulfulness found on this record that resonates well with the listener and keeps you engaged from start to finish.



11. Vampire Weekend- Modern Vampires in the City
Vampire Weekend perhaps embodies the musical spirit of Paul Simon's classic album Graceland more than any other active band today.  In fact, one could argue that Simon himself could sing lead on Modern Vampires in the City and would fit in just fine.  While my interest in this band has waned a bit since seeing their debut show at Turner Hall in 2008, there is no denying that this is an excellent record that showcases the most mature and sophisticated songwriting from Vampire Weekend yet.  I think it is just a matter of time before these guys elevate themselves to the level of a top tier act.  Look out Marcus Amphitheater... these guys might be coming your way.



10. Yo La Tengo- Fade
I must confess that I was late to the party with Yo La Tengo.  While I've heard of them and even had several of their albums in my collection over the past decade, it took a contagiously jamming track, "Ohm" (the first cut off of Fade) to get me to really take notice of this band and give them a serious listen.  There is no doubt about it- Yo La Tengo is a founding father of what is often considered the modern "indie rock" sound these days.  That said, Yo La Tengo continue to crank out great albums, and even though this disc dropped at the beginning of 2013, it has resonated throughout the year.  Start to finish, Fade stacks up well with several of Yo La Tengo's classic records.


 9.  Volcano Choir- Repave
Justin Vernon showcased his musical diversity in 2013.  He cut a great blues-rock record with Shouting Matches and a more atmospheric, low-fi album with Volcano Choir.  Repave combines creative instrumentation (thanks much to Vernon's collaborators, "Collections of Colonies of Bees") along with sweeping melodies and catchy hooks.  If I learned anything about Justin Vernon in 2013, it was that he is one heck of a talented dude.  The progressive haunting soundscapes created by Volcano Choir showcases how Vernon is not afraid to branch out to hone his craft.


 8. Okkervil River- The Silver Gymnasium
Will Sheff continues to be one of my top songwriters, and for good reason.  While my favorite Okkervil River record remains 2007's The Stage Names (my favorite album of that year, I might add), The Silver Gymnasium is the best collection of songs that Sheff and his bandmates has released since.  The Silver Gymnasium finds Sheff crafting complex narrative vocals to accompany the layers of multi-instrumental music on his tracks. One could argue that this is also Okkervil River's most accessible album since The Stage Names, and it is a fun and uplifting listen from start to finish.




 7. Pickwick- Can't Talk Medicine
Pickwick stole the show when they opened for Black Joe Lewis at Turner Hall this fall, and after having their outstanding debut record, Can't Talk Medicine, on regular rotation throughout the season, I have to think that it is just a matter of time before this soulful indie rock band breaks into the mainstream. This is feel-good music with reflective lyrics that, at its best, defies traditional classification. Part neo-soul, part narrative singer-songwriter and part garage rock, Pickwick is accessible and appealing to a diverse audience. While "Hacienda Motel" might be their best known track, "Lady Luck," a composition featuring Sharon Van Etten, is the standout on Can't Talk Medicine.  I look forward to great things to come from Pickwick in the future.

 6. Phosphorescent- Muchacho
Phosphorescent, the monkier of singer-songwriter Matthew Houck, became a household name in the indie-rock/singer-songwriter circles in 2013 with a terrific, progressive, and even at times psychedelic indie folk album.  Moving past straight guitar and vocal arrangements to more intricate instrumentation, Muchacho offers its listeners Houck's most ambitious songwriting yet.  Tracks like "Song for Zula" and "The Quotidian Beasts" remind me of Bob Dylan vintage "Rolling Thunder Review" era, but with a more modern touch.  Again, I am a sucker for narrative songwriting, and Muchacho delivers well in this respect.  This album has been in my regular rotation throughout the year, and I hope to catch Phosphorescent live sometime soon in 2014.



 5.  The Avett Brothers- Magpie and the Dandelion
Americana has certainly made its way into the mainstream in recent years.  I recall watching the Avett Brothers in 2010 sell out their show at Turner Hall, have it moved to the Pabst Theater, have it sell out the Pabst Theater, and finally have it moved to the Riverside Theater, and sell that venue out. Relentless touring has helped propel the Avett Brothers into an act that co-headlined the Marcus Amphitheater with the Violent Femmes this summer, and who consistently releases quality albums.  While I must admit that last year's The Carpenter didn't resonate with me as much as other material, this year's Magpie and the Dandelion makes up for that.  Track for track, this is about as fine of an Avett Brothers release as you're likely to find, showcasing the band's talented songwriting and diverse instrumentation. While perhaps not at the same level of catchiness as their classic albums I and Love and You and Emotionalism, there is no denying that Magpie and the Dandelion is a very solid release from one of the best touring acts out there today.



 4.  Arcade Fire- Reflektor
As a teacher, I should have been able to spot the foreshadowing in 2005 when I saw U2 at the Bradley Center, and the "biggest band on Earth" took the stage to Arcade Fire's "Wake Up" (off of their debut Funeral album).  Fast forward ten years, and Arcade Fire has emerged as one of the world's top acts. Like U2, their forthcoming tour hits only major cities and gigantic arenas.  Are Arcade Fire that good? Short answer, "yes!"

Reflector is an ambitious album to say the least- two discs that showcase the band in an experimental fashion.  Produced by James Murphy of LCD Soundsystem fame, the band pushes their sound in a more electronic direction.  As a huge fan of Funeral and The Suburbs this shift took a few listens to digest, but after getting over the greater influence in beats and synthesizers, I quickly realized that this is one heck of a fine record.  The title track, "Reflektor" is about as catchy a song as they come, and "Afterlife," a track found late on the second disc is about as fine a song as Win Butler has ever penned, and arguably the best song written in 2013.



 3. Portugal, The Man- Evil Friends
Alaska via Portland psychedelic rockers, Portugal. The Man, have been producing solid records for years, but this year's Evil Friends frames the band in a new light and is their finest release to date.  Working with famous producer Danger Mouse on Evil Friends helped elevate this band to the next level in terms of song craftsmanship, instrumentation, and creating catchy, unique melodies.  From start to finish, this is a fantastic record, that makes Portugal, The Man, stand out with more of a modern psychedelic sound rather than an act with more of a throw-back 1970's feel.   The addition of female vocalist Zoe Manville also was a large benefit to the band, both on the album as well as in the band's live show.

2. The National- Trouble Will Find Me
2013 may be the year of The National.  As a long-time fan of the band, I have watched them rise to stardom by putting out consistently solid releases.  Trouble Will Find Me showcases Matt Beringer and company maturing as artists adding more depth and layers to their brooding rock sound.  Narrative songwriting with pouring emotion has made Berringer a poster boy for midde-aged men, and college hispsters alike.  Tracks like "Demons," "Don't Swallow the Cap," "This is the Last Time," and "Sea of Love" resonate quickly as mainstream tracks, holding up with any of their previously excellent material. This is a band at the hight of their craft and who has earned the right to be a top tier indie rock mainstay.

1. Junip- Junip
Jose Gonzales, and his Swedish psychedelic folk-rock band Junip, produced their sophomore self-titled release which ranks at the top of my list for 2013.  It was hard for me to choose a #1, especially as Portugal, The Man, The National, and Junip all have been regular mainstays on my iPod since their releases last spring.  However, what separates Junip a bit from the others, albeit a small bit, is how it encapsulates the sound that I've grown to love this year.  Layered textures of instruments coupled with creative percussion, haunting keyboards, and reflective vocals make this a stand-out album.  The whole record flows from start to finish as a reflective piece about aging and maturing.  Simply but, there is a simplicity and beauty in this album.  Stand out tracks include the contemplative opener, "Line of Fire" (the album highlight), the driving rhythmic "Your Life Your Call," the meandering percussive track "Walking Lightly," and the soulful, climatic chorus of "Beginnings."  My only regret about Junip is that I did not go to see them at Lincoln Hall in Chicago this spring.  This is an enormously talented  band with a bring future in rock.

The Black Crowes- Riverside Theater, November 8, 2013

The Black Crowes are a rock 'n roll band in its purest form with all of the right ingredients to thoroughly entertain their crowd: charismatic lead singer with extraordinary range, lead guitarist with mystique, rhythm guitarist with poise and chops, and a rhythm section who was spot on every note.  Add a repertoire of over twenty-five years worth of music and a vast array of covers, and you have all of the fixin's for a great night of music.

The Crowes began their show with a trio of high energy numbers, "Soul Singing," (off of 2001's Lions), "Sting Me" (off of 1992's masterpiece, The Southern Harmony and Musical Companion) and "Twice As  Hard," (the title track off of The Black Crowes debut record, 1990's Shake Your Money Maker).  The set continued featuring songs from across the band's career, with as much energy and passion as if they were brand new tracks.  "Evergreen," (from 2008's Warpaint) delivered a sultry swagger, and "Mellow Down Easy," a Little Walter blues cover (which appeared as a bonus track off of 1996's Three Snakes and One Charm), was well-jammed out with a great boogey rhythm.  

However, the true highlight of the show occurred half-way through the set, when the band broke out a nearly 20 minute rendition of their famous tune, "Wiser Time," (from 1994's Amorica).  When a band chooses to perform any song for a long duration of time, it is easy to lose the audience's attention or become excessively self-indulgent.  This wasn't the case with this version of "Wiser Time," however, which saw each band member take turns soloing.  The guitar work of Jackie Greene and Rich Robinson was precise, soulful and spot on in the jam.  After "Wiser Time" the band went on a roll of well-known favorites to close out their night, including a stripped-down acoustic version of "She Talks to Angels," (from 1990's Shake Your Money Maker), a straight forward, rocking rendition of "Remedy" (from 1992's Southern Harmony and Musical Companion) and a set-closer of The Black Crowes' most well-known tune, their shake-rattle-and-roll cover of Otis' Redding's "Hard to Handle."  For an encore, the band covered "Don't Do It" by The Band, a fitting rock classic that kept the crowd smiling.   

The band's recent trend of touring for about a year, then taking a few years off and then touring again seems to have done wonders for keeping their sound tight and shows full of power and energy. While it had been over 8 years since I last saw the Black Crowes I certainly won't let that much time pass before I see them again.  In summary, during the show, a fellow fan inquired if The Black Crowes were the inspiration behind the band "Stillwater" in Cameron Crowe's film Almost Famous, which starred Chris Robinson's then wife Kate Hudson.  I don't know the answer to the fan's inquiry, but do know that The Black Crowes are about as "rock 'n roll" as they come.

Grade: A+ 

Check out the setlist from the concert

photos compliments of Gigshots by Stephen Bloch.

Fort Frances- Club Garabaldi, November 2, 2013

It's pretty clear when you see people doing something they love.  This was evident when the trio of Fort Frances took the stage at Club Garibaldi to a crowd of roughly 50 or so people.  The crowd could have been 20 people or 200 people, and I think the band would have had just as much fun.  Fort Frances exceeded expectations for their live performance, putting together a solid set of folk-inspired indie pop-rock, from three very talented musicians who clearly enjoy playing their music with each other and for others.  

The opening tune of the set, "How to Turn Back Again," off of this year's Harbour EP set the stage with a jammed intro.  From there, the band launched into "Truths I Used to Know," also from Harbour.   A new track, "Habits," from the band's just-released Breaking Room EP followed next, which was more of a lamenting number about choices.  This track, along with others showcased McMillan's strong narrative songwriting style.  When talking with McMillan before his performance, we discussed similarities between some of the Fort Frances' material and Counting Crowes' Recovering the Satellites album. Songs like "Cities in Dust" and set closer, "If The Ocean Runs Dry" definitely showcase this influence in a good way.  

An interesting inclusion to the set was a cover of Prince/Sinead O'Connor's tune "Nothing Compares to You," where the band held true to the original, yet putting their own delivery on it.  While some in the audience, including your's truly, were hoping for the popular cover of DJ Jazzy Jeff and the Fresh Prince's "Summertime," to be included, the song, as described by drummer Aaron Kiser is "not in season," and, also quoting Kiser, "Hey, it'll make you come back and hear us some more."

After hearing Fort Frances live, Kiser is quite correct.  This is a great band on the rise that myself and others would love to see again and soon.  With the right exposure and right tour partner, I could see this band gaining some real buzz in the music scene. They already are well on their way with being featured on the Outlaw Road Show at SXSW.  Whether or national buzz happens or not, one thing's for certain, Fort Frances is enjoying themselves, making good music. and having a blast in the process.

This show was as much fun as any show I've seen in a small venue like Club Garibaldi.  While it's easy for me to be biased(after all, Jeff Piper is my cousin), getting texts the morning after seeing the band about folks downloading their material speaks volumes... it isn't just me, these guys are GOOD.

From left to right: McMillan, Kiser, Piper

Fort Frances opens their show

Jeff Piper busts out the drums during the set

Toro y Moi-- Turner Hall Ballroom, November 1, 2013

It is hard to describe Chaz Bundick (better known by stage name "Toro y Moi"'s music).  If you took late 80's-early '90's Prince sprinkled in vintage rock guitar riffs, added a lot of synthesizer, threw in some loops and a dash of funk, combined them all into a blender and hit the "pulse" button and you might get the idea.  Often described as one of the core contributors to the "chill wave movement" (whatever that is), Toro y Moi are a unique act to say the least.  With lots of smoke and a pulsating light show, they certainly were entertaining and got the mostly late 20-something crowd dancing and enjoying themselves.  The show, as expected, drew heavily from this year's release, Anything in Return.  Show opener, "Harm in Change," the first track off of that album, was as energetic and fun as one would expect.  At their best, Toro y Moi jammed out their numbers and lead to some interesting sonic grooves.  At their worst, after about 30 minutes, all of the songs started sounding the same.

Opening for Toro y Moi was Los Angeles electronic duo, Classixx.  Donned in retro 1980's baseball jackets, they did a great job of getting the crowd jumping and dancing to numbers like "Holding On" (which sounds like 1980's pop with loops and samples thrown in).  While many people seemed to really enjoy this act, I had a hard time "getting it" as I really don't understand how electronic music is being performed live.  The guys weren't singing, but there were vocal tracks, and the musicians did more head-nodding and in-place dancing behind their rigs than anything else from my vantage point.  It was fun for an opener though.

The most amusing part of this show was the wacky crowd.  Perhaps the fact that it was the day after Halloween had something to do with it, but from a large man with retro high-tops and glasses that would blink in neon colors to a woman dressed like some sort of Willy Wonka creature, to a beekeeper and a bee, to folks who, to be quite honest, I wasn't sure if they were dressing up for the show or wearing a Halloween costume, this was a good people-watching show to say the least.

Grade: B

Photo courtesy of Stephen Bloch

Little Green Cars- Turner Hall Ballroom, October 20, 2013

My winning ways continue this fall, as I scored free tickets to Little Green Cars.  This folk-rock quintet from Dublin, Ireland played to about 250 people on a Sunday evening at Turner Hall.  Despite being a young band, their fan base was extremely diverse as high school kids to men and women in their 60's came to check out Little Green Cars.

Drawing primarily from their debut record, this year's Absolute Zero, Little Green Cars put on a solid, nearly 90 minute set.  The show started slow, with softer down-tempo numbers, but then picked up quicky.  "Big Red Dragon" was an energetic tune that started a real upswing in the show.


While all members of the band sang, often beautifully, the vocal duties were primarily handled by Stevie Appleby and Faye O'Rouke.  Of the two of them, Faye's lead numbers stood out as stronger tunes, playing off of her powerful, yet not overbearing voice (which echoes the range of Dolores O'Riordan of fellow Irish rock group, The Cranberries).  "Love Took Me Down to the River to Silence Me" was a beautiful number that showcased Faye's range an the band's ability to blend both rock and harmony together.

While I went into the show only really knowing one tune, "Harper Lee," thanks to 88.9 Radio Milwaukee, I found that this was at best a mid-set tune, and that the band has better music to offer.  The overall highlight of the show, was set closer, "The John Wayne," which told the story of Stevie Appleby having a few drinks and "falling in love" with a girl, only to end up back at his parent's house watching The Quiet Man and getting scolded by his "massive pops" for being loud.  It is in Appleby's storytelling that showcase his skills the strongest.

For their encore, the band literally came out into the crowd to perform an acoustic number without microphones.  This is a very fan-friendly, band who is accessible in all ways, especially with their sound.  I see Little Green Cars as a band with a very bright future.


Harper Lee

The John Wayne

Grade: A-

Blitzen Trapper & Phox- Turner Hall Ballroom, October 9, 2013

Portland's Blitzen Trapper has established themselves as a solid indie rock act over the past half of a decade.  Powered by harmonizing vocals that are reminiscent of vintage Crosby, Stills, Nash and Young, the band masterfully combines elements of folk, blues, country and jam rock together to create a unique sound.

Photo by Stephen Bloch

I've been a fan of Blitzen Trapper since their 2007 release Wild Mountain Nation, and have had the pleasure of seeing the group on several occasions live, both as a headline and support act.  While 2008's Furr remains the band's high water mark for me, their live show has continued to evolve and mature.  With a very solid recent release in this year's VII, Blitzen Trapper rolled into Turner Hall as a solid headliner, drawing close to 400 fans on a weeknight.  While Trapper fans, many of whom looked like they belonged in the IFC Channel's Portlandia themselves, dressed in plaid, the band surprised its audience, emerging in suit coats and ties.  Front man Eric Earley emerged with jeans, a button down shirt (sans tie) and a suit coat, looking more like a businessman than the guy who penned "Wild Mountain Nation" and "Country Caravan."  This was similar to the image transformation I noticed when I last saw Okkervil River and they emerged dressed in similar attire.  While clothes certainly don't make the man, the image that the band sent was that this is an established act who deserves to headline shows with a diverse and deep catalog of material.  Blitzen Trapper has never sounded finer and I hope the band continues to cultivate their success.

Madison indie rockers Phox opened the show to an enthusiastic crowd.  This was my first time seeing Phox and they certainly lived up to the hype they've been receiving on the Internet and the festival scene.  Their sound blends elements of 80's synth rock together with strong female vocals, similar to Policia.  I would be curious to check out a gig where Phox headlined to get a fuller picture of their sound and what they're all about.

Grade:
Phox: B
Blitzen Trapper: A-

Hanni El Khatib- Turner Hall Ballroom, October 2, 2013

Produced by Black Keys guitar god, Dan Auerbach, Hanni El Khatib's latest record, Head in the Dirt has received a fair amount of buzz.  Rightfully so- the album is one of this year's most rocking releases.  Head in the Dirt reminds me of early Black Keys material with short, energetic songs powered by solid guitar hooks, fuzzy chords, and, above all, a tight rock 'n roll sound.  Auerbach's recent work with legendary producer Danger Mouse, probably helps in the pop sensibility of this release as well.  Hands down, if you want a solid blues-rock record, you can't go wrong with Head in the Dirt.

Hanni El Khatib came to town with much hype and promise.  He opened his show in dramatic fashion, coming onto a dark stage and busting into his set full throttle with a powerful, rock raucousness.  His large backdrop of two skeletons  with the HEK initials were illuminated against simple back lighting.  However, after about three songs into the set, Hanni mentioned how the crowd was "surprisingly sparse."  From that point in the set, Hanni seemed to be "checked-out," and played exactly an hour with little crowd interaction and energy.

While there is no doubt that Hanni El Khatib has some major chops musically, an artist can take a small crowd and do one of two things.  1) He/she can engage the crowd in the same fashion as he/she would if the room was full, and by doing so, endear fans to spread the word of "this awesome band" all around the Internet in hopes of gaining a larger crowd next time they're in town.  Or, the artist can do what Hanni did and 2) Play to get your paycheck, with nothing more to offer. Unfortunately, for myself and others who were in attendance thanks to winning local ticket contests, this had less than the desired effect.  Hanni live did not live up to the rock 'n roll promise heard on his album.  As with many rock acts, the setting you see the music in adds to the experience of enjoying the music in communion with fellow rockers.  In retrospect, perhaps a booking at The Cactus Club or Club Garabaldi might have proved a better fit for Hanni El Khatib.  Regardless, rock chops or not, Hanni did little to make the 150 or so fans in attendance want to go out of their way to see him next time he comes to town.  

Grade: C+ (and the + is merely because I like the album so much)

Black Joe Lewis & Pickwick, Turner Hall Ballroom, September 30, 2013

Austin rhythm and blues rocker Black Joe Lewis and his band invaded Turner Hall to a crowd of about 400 people for a Monday evening of funky rhythms, horns, and fun.  If there ever was a reason for a "Monday Funday," this was it!

The evening kicked off with with what will go down to be my surprise act of the year, Pickwick.  Hailing from Seattle, Pickwick is one part White Stripes, one part Fitz and the Tantrums, and, above all, an engaging and highly professional act.  Thanks to 88.9 Radio Milwaukee, I was familiar with their single, "Hacienda Motel," but, to be honest, had little other background exposure to band.  Truth be told my argyle socks on my feet from a day of teaching mysteriously left my feet, and, for all we know, might still be on the floor of the Turner Hall Ballroom.  Simply put, for a debut Milwaukee performance, Pickwick wowed me and the crowd fortunate enough to catch their set.  Powered by Galen Disston's rich, powerful vocals, the six-piece rock/soul outfit played the majority of their debut album, Halls of Columbia.  One of my friends in attendance picked up this album as well as their Zenith, EP.  Cuts like "The Round," and, "Hacienda Motel,"  "Windowsill" packed deep vocals on top of contagious melodies.  Disston's stage presence along with the rest of the band made me think this was a seasoned veteran act, rather than a newer act with something to prove.

Black Joe Lewis had big shoes to fill after Pickwick's set, and he did a great job of getting the crowd swaying to his infectious, boogie-filled melodies and rhythms. Lewis' latest album Electric Slave got the majority of the attention, although his tracks from Scandelous were probably most recognizable for the crowd.  Black Joe Lewis barely paused in his 90 minute set, playing his red guitar with simply his fingers, and using his thumb to create bar chords.  Black Joe rocked the joint and had the crowd movin' and groovin'.  I love throw back rhythm and blues acts, but, Black Joe Lewis suffers from the same issue that many acts in this genre do: all of the songs, essentially sound the same.   Part of the success of "Booty City," Lewis' trademark song, is that it's energy level far and groove surpass most of his other work.  Too often, I felt like I was hearing a song that Lewis played earlier in the set while he was playing new material.  Still, Lewis and his band managed to thoroughly entertain their crowd.  I'd put Black Joe Lewis as an act whose live show far surpasses his studio work for sure.  It's a fun party I'd gladly attend again.

Photos compliments of Gigshots by Stephen Bloch.

Pickwick: Grade A+ (going to be hard to beat for opening band of the year)
Black Joe Lewis: Grade B+

Widespread Panic- Riverside Theater, September 28, 2013

Widespread Panic provided a little trip down memory lane when they played their third show of their annual fall residency at the Riverside Theater on Saturday, September 30th.  This was my first Panic show in three years, and close to my 30th overall. From 1997-2001, this was my band.   I could probably attempt to sing every gravely note and mimic every indulgent guitar solo from Space Wrangler, Widespread Panic, Everyday, Ain't Life Grand, Bombs and Butterflies and 'Til the Medicine Takes.  At one point, during the end of my college career at UW-Madison, I took a long weekend with a good buddy and saw Panic in Madison, Minneapolis and Ames, Iowa (of all places).  I convinced a girl in college (who's name I no longer remember and whom I met the night before at a party), to let me borrow her car as a sophomore to drive to Milwaukee to catch a Sunday Panic show at the Rave. For a while, going out of my way to see JB, "Schools," "Jojo," "Sunny," Nance, and Houser was the norm, not the exception.

Fast forward a decade plus and I found myself back at the Riverside Theater, taking in a night of Panic with old friends.  Since the band began doing residencies at the Riverside several years ago, I have caught them four times.  Some shows have been fantastic, others mediocre, but I've always had a good time filled with laughs with good friends.  This show was no different, although it didn't hold the same musical teeth as some of its predecessors that I've seen.  There were some good jams, some interesting people watching, and some wild lights, but, to be honest, as a fan of live music, Panic is aging, and rightfully so.  This band consists of men in their fifties and sixties.  While the musicians have matured, their sound and crowd tries to hold on to days and times of old.  The end-output of all of this is a very good nostalgia act, but an act that does little to challenge its listener musically.  There are other acts that are quite fun like Panic (Jimmy Buffett comes to mind), where the time with the friends and people watching trumps the music itself.

For that reason, I give this show two grades:
Fun Factor: A
Musical Factor: B-

To be honest, Milwaukee Journal Sentinel music critic, Piet Levy, does an awesome job of capturing the Panic vibe with words.  Here is a link to his article on the band, recapping the first night of this year's run.  

Photos courtesy of Gigshots by Stephen Bloch.

What's On Will's iPad: September 2013 Edition

Here are some newer releases that have been dominating the ol' iPad of late.  Please leave a comment and let me know what you like and also, more importantly, what you're listening to these days.  I'm always in the market for new tunes.

The following four records are getting lots of spins recently:

Volcano Choir: Repave

Justin Vernon and Collections of Colonies of Bees come together for a great release of multi-instrumental songwriting and lush soundscapes.  Fans of Vernon's most famous group, Bon Iver, will find Volcano Choir hits closer to what they may be used to, rather than Vernon's earlier record this year with The Shouting Matches, (which was a straight-ahead blues rock album that I happen to love). The album functions wonderfully as a whole piece and is a diverse listen throughout.

The Generationals: Heza

While this record's been out since April, I have really been getting into it of late, in large part to the frequent radio play they are getting from 88.9 Radio Milwaukee.  This whole album is catchy indie-pop rock form the New Orleans duo.  "Put a Light On" is an infectious, stand out track.  Be forewarned, click on the video below and you'll have the melodic hook of this tune stuck in your head all day.

Okkervil River: The Silver Gymnasium

I am a huge fan of Will Sheff's narrative storytelling songwriting, and he and his bandmates really deliver on The Silver Gymnasium, an album which I'll say is their strongest effort since 2009's, The Stand Ins.  I'm not sure if I agree with the critics who classify this as "stadium rock," as I cannot envision Okkervil River selling out the Pabst Theater, let along a stadium, but certainly think that Sheff at times ventures into more guitar driven pounding choruses not unlike earlier Bruce Springsteen tracks.

Hanni El Khatib- Head in the Dirt

The Dan Auerbach produced sophomore effort from Hanni El Khatib is a rocking disc, filled with guitar heavy hooks and bluesy jams.  On the single, "Skinny Little Girl," El Khatib almost sounds like Auerbach himself on vocals.  If you like more recent Black Keys releases, you'll likely enjoy this as well.  

Youth Lagoon- Pabst Theater, September 12, 2013

One of the great things about winning free tickets is that you get the opportunity to check out shows you might not otherwise go to.  To be honest, Youth Lagoon was not an act that was on my radar to see.  I had seen them last year when they played a $10 show at Turner Hall, and found that they played a meager 30 minute, uninspiring set.  Granted, Trevor Powers, the singer/songwriter behind Youth Lagoon told the crowd that night that he was very ill, and he played like it.

This time, three songs into their near 90 minute set, Trevor Powers addressed the crowd stating, "Last time I was in Milwaukee, I was really sick and I hope to make it up to you tonight."  That he did and then some, making this a surprisingly good show.  In just a year's time, Youth Lagoon has really stepped up their live show.  First off, they now have a stage set up that fits with their music.  Long white curtains were draped from the ceiling, projecting colorful lights against the backlit stage.  Secondly, Powers and his bandmates have learned to use their skills better.  Powers himself is an accomplished pianist and keyboard player, and was able to showcase his musicianship both by keeping true to the album tracks as well as venturing off into some jams.

The set drew heavily from Youth Lagoon's 2013 acclaimed release, Wondrous Bughouse.  This material came across similarly to early Flaming Lips recordings from the Clouds Taste Metallic era. The highlight of the show was a very well-done rendition of "Mute" from Wondrous Bughouse, which, I dare say blew the studio track out of the water.  These guys proved to me and the few hundred others in the venue that Youth Lagoon can indeed play well live.

Grade: B+

The National- Riverside Theater, August 5, 2013

Simply put, the Cincinnati via Brooklyn quintet, The National, put on a show at the Riverside Theater this past Monday that will have people in attendance talking for months, perhaps even years to come.  The National elevated their live act once again, proving they are one of the best touring acts today.  Perhaps the combination of growing confidence from the musicians, their most accessible album to date, 2013's Trouble Will Find Me, and an incredible digital back drop consisting of a U2esque screen that projected band videos, close-ups and creative lighting effects, all helped contribute to The National's rise to the next level in their performance.

Drawing heavily from Trouble Will Find Me, but also digging into High Violet, The Boxer, and Alligator, The National delivered an over two-hour set of riveting music that had the sold out crowd engaged from the first note of "I Should Live In Salt' to the last thud of Matt Berrigner (lead singer) planting his mic stand heavily on the stage at the end of the encore number, "Vanderlyne Crybaby Geeks."  While the band has become more polished since I first saw them play the Pabst Theater in the fall of 2007, the intimacy of their performance remained palpable and a key reason they are an act you can't take your eye off.    Older favorites like "Sorrow," "Afraid of Everyone," "Squalor Victoria," and "Apartment Story" worked seamlessly with newer numbers like "This Is The Last Time," "I Need My Girl," and "Sea of Love," (which had a capacity theater of mostly early-thirtysomethings sing, in fake baritone unison,  the refrain, "and if I leave here, trouble will find me.")  Even the encore showcased the deepness of the band's catalog, playing a new track, "Humiliation," along with the always popular "Mr. November," and "Terrible Love."

Berringer is an unlikely rocker if there ever was one.  A tall and lanky man dressed in a suit with large glasses, Berringer, as always, delivered his deep baritone vocals while clutching his microphone stand, swaying back and forth, nervously twitching his hands and imbibing in glasses of wine in between numbers. The tightness of the rest of the band was noteworthy.  Like on their last tour, The National brought a horn section along.   The horns added a perfect accompaniment to the soundscapes that dominated many of the tracks.  The whole unit was firing on all cylinders, and delivered a truly memorable performance.

Grade: This is gonna be darn hard to top as show of the year

Setlist from the show:

Photos courtesy of Gigshots by Stephen Bloch.  More of Stephen's fantastic photos can be seen in Relix Magazine by following this link.

The Shouting Matches- Turner Hall Ballroom 8/1/13

If you and your close pals formed a band, what would it sound like?  For Justin Vernon, the answer to that question is a power blues trio, that goes by the name "The Shouting Matches."  Playing only a handful of shows in support of their first full-length album, Grownass Man, Vernon and his band mates, Phil Cook (of Megafun) and Brian Moen (of Peter Wolf Crier) delivered an evening of rock 'n roll in its purest form. In many ways, despite Turner Hall being as full as I recall ever seeing it, the show itself felt like you were seeing a friend's band in a small club-- equal parts intimate, friendly and accessible.

This was a no-frills rock how at its finest, featuring three very talented and engaging musicians who spent the evening enjoying one another's company and playing darn good foot-stomping music in the process.  The evening kicked off with the Grownass Man opener, "Avery Hill," which got the sold-out crowd grooving.  Heavier numbers like "Mother, When?" and "Bear" (from the limited release EP- Mouthoil) could easily have been inserted on a Black Keys record.  "I Had A Real Good Lover," sounded like bluesier classic Rolling Stones material (with Vernon singing falsetto for the only time during the evening).  "Heaven Knows" featured Cook ripping it up on harmonica over Vernon's pounding guitar riffs which brought back memories of seeing local blues man Jim Liban do likewise at the Up a Under.  My favorite track from Grownass Man, "Gallup, NM" featured Cook on organ and sounded like vintage Wallflowers.  These tracks were all accessible to the listener and pleased the audience.



 What impressed me the most about this band was the sheer musicianship exhibited on stage.  For a band who has only played a handful of shows together, it felt and sounded like these guys had been touring  for years.  Moen is a terrific percussionist, much in the same style of The Black Keys' Patrick Carney.  Cook is an accomplished organist and rhythm guitarist who held the band together.  As for Vernon, he was a real "wow" as an axe man.  His work with Bon Iver would never have given the impression that Vernon was as accomplished as he is on guitar.  His jam on "Gallup, NM" channeled Warren Haynes and even sounded a bit like the late Jerry Garcia.

Overall, this was an impressive evening of music and I felt very grateful to be able to see a rare show by a talented band.  In many ways, I liked this show just as much as the Bon Iver show I saw at the Riverside a few years ago, but for very different reasons. One thing's for certain, Justin Vernon is one talented dude and has a great career ahead of him.

Grade: A


All photos courtesy of Gigshots by Stephen Bloch.  

 Some pics of the merch:  You'd be surprised how many people in he audience were buying the "Grownass Man" take top (I was not one of them, fortunately for my wife).  This shirt is somewhat ironic in my opinion.


I also got a chuckle out of the cassette tapes.  Haven't seen one of those on sale at a show for many many years!

Foxygen- Turner Hall Ballroom, 7/28/13

The term "buzz band" seems to be most often associated these days with the California psychedelic-alternative rock duo of Jonathan Rado and Sam France, better known as Foxygen.  After all, they were named a "Best New Music" artist on Pitchfork, and had a great write up in Rolling Stone.  Their latest release, We Are The 21st Century Ambassadors of Peace and Magic is a very good album, and will most likely end up on several critics' best of the year lists, including my own.

A very good album, however, does not necessarily make an exceptional live act.   In the case with Foxygen, they have earned a reputation, in a very short amount of time, for their erratic stage presence, inner-band fighting and bickering while performing.  If this is all a big act, it's working well, as a simple Google search of "Foxygen" will draw you to a plethora of articles and blogs about the band and its inner workings (or lack thereof) without much mention of its music itself. In fact, one musician, Elizabeth Fey, who sings on the band's most played track, "San Francisco," is no longer on stage with Foxygen, after a chaotic performance at the Pitchfork Music Festival in Chicago earlier this month.   I guess a little drama isn't a bad thing if you're a young band getting a ton of press these days.

For this evening's show, Foxygen did not fight on stage or bicker with each other.  In fact, at the end of the show, Jonathan Rado declared that this was "the best show the band has played."  That made me feel good as a fan, but also made me wonder, if this was their best, what was their worst?  There was little interplay among the two chief musicians, besides some insipid banter between Sam France and the near-capacity audience on a Sunday evening focusing on talking about Disney songs and topics in between songs.  For folks in the way front who were conversing with the musicians, this could have been kind of cute, but for the rest of us it seemed a little awkward and a lot bizarre.

From my point of view, Foxygen is a very young and talented band that needs to figure out a stage niche of their own without falling into rock 'n roll stereotypes and cliches.  At the heart of this band are two musicians who are solid songwriters.  Their modern take on the laid back, jammy nature of late '60's-early '70's psychedelic rock peaked my interest as a listener.  Lead vocalist, Sam France channels the spirit of Jim Morrison, Mick Jagger and Iggy Pop when he performs.  His stage antics go from hitting himself with the microphone, wrapping his microphone stand around his neck,  holding the mic stand backwards, standing on the monitors, climbing on the speaker stack and jumping down, and tripping several times on stage.  The out-of-control rocker image has been done in the past, and more convincingly, than Page's presence.  With that said, he did entertain visually.  The arrangements of the tunes were a bit on the sloppy side, but fit the band well.  In fact, one of the touring musicians often put his guitar down in lieu of a tambourine, channeling Joel Gion of the Brian Jonestown Massacre.  He was quite entertaining and held my attention well.

The jury is still out on Foxygen, as they are a very young band. Like many younger acts who I've seen this year, there is a lot of potential and room for growth.   If Foxygen is able to focus their creativity and energy, they have the potential to be a solid throw-back psychedelic rock act.  If not, their career may be much shorter lived.


Grade: B-

All photos courtesy of Gigshots by Stephen Bloch.

AmericanaRama: Toyota Park, Bridgeview, IL 7/12/13

Coming together to form a once-in-a-lifetime line-up, Bob Dylan, Wilco, My Morning Jacket and Richard Thompson combined for an afternoon and evening full of music dubbed the "AmericanaRama tour."  Each of these performers was known for taking the genre of roots/folk rock and pushing its sonic boundaries to new places throughout their careers.

Richard Thompson Electric Trio:
With only a half-hour set to play with, Richard Thompson and his Electric Trio made the most of their time slot, showcasing Thompson's superb axemanship.  Opening with two tracks from his most recent "Electric" album, ("Stuck on a Treadmill" and "Sally B") Thompson hooked at least one new fan (me) through his powerful British blues-rock and great jams.  Thompson joked about the irony of him being on a tour called "Americanarama," seeing that he is a British performer.  While his set was solid, his later collaborations with Wilco would steal the show.
Grade: B+

My Morning Jacket:
About three songs into a blistering hour-long set, my friend, Steve Bloom, turned to me and asked, "how is anyone going to top this?"  He was right on.  My Morning Jacket came to the stage to prove that they deserve to be among the best-of-the-best.  If this was their mission, they accomplished it by a mile. Like the other artists on this tour, MMJ are used to being headline performers who sell out mid-sized venues across the country.  Confined to an hour, the Jacket made the most of their time delivering a driving rock set which fired-up the crowd and was perhaps the best I've seen them play as a unit. And, this was in the late afternoon, without the use of their elaborate light show.

Jim James frequently told the crowd what a beautiful day it was, and with temperatures in the mid seventies and few if any clouds in the sky, he was correct.  My Morning Jacket's set provided a perfect soundtrack to this lovely late afternoon.

The band opened with a deep cut, "The Dark" off of 1999's The Tennessee Fire, and then went into the fan-favorite "Circuital" from the band's latest 2011 release by the same name.  The fun continued with rousing renditions of "Magheeta" from 2003's break out disc, It Still Moves. The Jacket mellowed things out a bit with a mid set combination of "Golden" and "Slow Slow Tune."  The band then went to their back catalog for a beautiful rendition of "Masterplan," which kicked off a very high energy portion of the show that would find Jim James moving throughout the stage, leading the crowd in sing a longs to "I'm Amazed," "Victory Dance," and "Wordless Chorus" (which featured James in his trademark cape).  The jammy "Phone Went West" followed, and was certain to be the set closer, when James boldly grabbed his flying v guitar and launched the band into a riveting rendition of their trademark cut, "One Big Holiday."  For a beautiful day, you couldn't ask for a better way to close the set or engage the crowd.

My Morning Jacket delivered an over-the-top performance that stole the show, solidifying their place as a great band who continues to challenge the boundaries of Americana music.

Grade: A+

Wilco: 
For a band that is used to playing headlining gigs and over two-hour performances, it was a little bit strange to see them confined to an hour and fifteen minute time slot. (The last time I saw Wilco when they were not the headlining act was at 1995's H.O.R.D.E. festival). In the time Wilco was allotted, the ChiTown sextet managed to keep true to the theme of Americana, with a show punctuated by collaborations and deep cuts.

Opening the show with a cut from the Mermaid Avenue album, "At the Window, Sad and Lonely" and followed it up with the Laura Cantrell cover, "When the Roses Bloom Again." These tracks started off the show off on a very mellow note.  From there Tweedy launched into "What Light," a rarely played cut off of 2008's Sky Blue Sky, which I had never seen performed before.  A passionate version of "Misunderstood" followed, with Tweedy and company paying homage to their home crowd fans.  Renditions of Yankee Hotel Foxtrot's "Poor Places," and The Whole Love's "Art of Almost" showcased Wilco's ability to push the boundaries of Americana music through experimentation.

The collaborative portion of the show followed. Richard Thompson rejoined Wilco, as has been customary on this tour to perform a few tunes.  The first of which, a cover of the Australian band Fairport Convention's "Sloth," was truly exceptional, and my musical highlight of the evening, even though I had never heard the tune before.  The guitar interplay between Thompson and Wilco's virtuoso axeman Nels Cline, transformed the musicians into a jam band for the 10 minute epic tune.  It was seriously some of the best guitar work I've seen on stage in quite some time.  Thompson stayed on with the hometown band to cover "California Stars," and then launched into "That's Not The Issue," an alt-country ho-down track off of their debut record, AM. 
Thompson then left the stage, and Tweedy grabbed the mic for the poppy, "Hummingbird" off of 2001's A Ghost Is Born, which flowed into the fan-favorite, "Impossible Germany," complete with another lengthy Nels Cline solo.

In somewhat of a dream-come-true collaboration, Wilco invited My Morning Jacket on stage to do a cover of Neil Young's "Cinnamon Girl," which they've played a few times on the tour thus far.  While the song was short and not really as jammed out as I was hoping for, seeing my two favorite bands play together on the same stage was a real treat.


If there was a let down in Wilco's set, I would argue that the finish was rather lackluster, with two relatively poppy "dad rock" tunes off of The Whole Love, "Born Alone," and "Dawned on Me."  These aren't bad tracks, by any means, but are normally early or mid set numbers, and left the audience with more of a "huh?" expression rather than the large perma-grins which followed MMJ's earlier set.

That said, Wilco delivered set list that was aimed to please both new and old fans and took a lot of risks and challenges in their performances and selections, making this a rather adventurous take on their Americana influenced catalog.

Grade: A-


Bob Dylan:
Oddly enough, the headliner of AmericanaRama, Bob Dylan, proved to be the most polarizing figure of the night.  For many fans who wish to hear Dylan's hits, he is a source of great irritation live.  Not only does Dylan not play "the hits," but a lot of times he alters older songs into drastically different arrangements, to a point where the only recognizable quality of the song is the lyrics.  If you know anything about Dylan, you know that lyrics have always been hard to decipher from the man, but these days are even more gravelly seeing that Dylan is 71 years old.

Since 2001's fantastic album, Love and Theft, Dylan has taken on a role of more of a dark character out of a western movie on stage.  His band, as always, was extremely tight and played a well-rehearsed set, which has been Dylan's nightly fodder.  We stayed through about a half hour of his performance, and as he played, saw a decent amount of people trickle out of Toyota Park.  To quote our concert neighbor's Facebook status, "Bob Dylan sounds like what Saturday Night Live would sound like if they portrayed Bob Dylan."  As a music fan, Bob Dylan, at this stage in his career is not going to knock your socks off like My Morning Jacket does, but, I do have a lot of respect for what he does.

Perhaps my respect for the performer clouds my review, but overall, if you know what you're getting, Dylan can be a fun, and even musically innovative act.  Many veteran acts, for instance Tom Petty and Paul McCartney, have chosen, essentially to do greatest hits shows when they perform.  They pack much larger venues than Dylan and probably leave the average fan much more satisfied upon leaving the arena.  That said, Dylan keeps putting out challenging, relevant music to critical praise.  For what it's worth, I loved hearing "Early Roman Kings" from last year's The Tempest, and found that much better than his "take" on "Tangled Up in Blue."

If Dylan was slated as an earlier afternoon act, I think his performance would have come across better. Simply put, he was upstaged by a terrific MMJ set and a collaboration-filled Wilco performance.  While we all hoped for some sort of collaboration between Dylan, Wilco, and My Morning Jacket, no such interplay occurred.  After a half-hour, we chose to forgo the rest of Dylan's set to begin the traffic-jam laden trek back to Mequon.  If Dylan comes back and plays an intimate venue, I would consider seeing him again, but overall, think my Dylan days are done.

Grade: B-