2014: My Favorite Live Shows

I was blessed to attend a myriad of great live music this year in Milwaukee.  The following are my favorites.  Granted, there was a lot of exceptional music that occurred in the city this year that I did not see-- the Pearl Jam and Outkast shows were ones that have gotten universally rave reviews that  missed out on.  But, overall, I'd say this was one of the stronger years in recent memory for great live shows in diverse venues all across town.

Opening Act of the Year:
Sylvan Esso surprise opener for Volcano Choir 
-Volcano Choir was good, Sylvan Esso was great, and put on an equally engaging performance as Justin Vernon and the Volcano Choir boys  with nothing short of a flawless support set which featured the band at its energetic best.

Best Local Show of the Year:
Buffalo Gospel- Anodyne Coffee Roasting Company 12/20/14
-If Buffalo Gospel didn't tell you that their first trip to Madison was the night before, you would be hard pressed to believe that this superb Americana act is still at the local level.  Their musicianship is up there with top national acts.

Will's Favorite Concerts of 2014:

11.  Nicki Bluhm and the Gramblers, Shank Hall, 6/17/14

-Nicki Bluhm is the real deal in terms of being a charismatic front woman with an outstanding voice. Her band, the Gramblers, produce great country-inspired rock.  I knew hardly any songs going into this show and left thoroughly "wowed."

10.  Spoon, Riverside Theater, 9/17/14
-Consistency is hard to maintain in the music business, but Spoon has become one of the most predictably good acts out there.  Their live show had a set list spanning their robust catalog and their energy was fantastic.  

09.  First Aid Kit- Bradley Theater at Lakeland College, 11/21/14
-The harmonies from the Soderberg sisters were breathtaking, as was catching a white hot band in a tiny venue.  Kudos to Lakeland College for booking this one.

08. Field Report, Pabst Theater, 10/1/14

-Marigolden comes across live as good if not better than it does on disc.  A remarkably polite and courteous crowd gave local singer-songwriter, Christopher Porterfield, a hero's welcome.  After all, it was "Field Report Day" in Milwaukee.

07.  Jack White, The Eagles Ballroom, 7/21/14 

-One could argue that Jack White personifies modern rock 'n roll, and personally I'd have a hard time refuting that statement.  White is a true rock showman, and had his fans engaged from start to finish on a sweaty night in the venue that smells most like arm pits in Milwaukee-- The Eagles Ballroom

06.    St. Paul and the Broken Bones, Cedarburg Summer Sounds, 8/1/14
-You couldn't ask for more energy in a soul band for over an hour and a half than you got from St. Paul and the Broken Bones, who played the Cedarburg Summer Sounds series.  The ambiance of a scenic outdoor setting on a beautiful summer's night added to the ambiance of this stellar performance.

05. Sharon Jones and the Dap Kings, Pabst Theater 3/6/14
-I don't think a smile left my face for the two hour performance by Sharon Jones and her all-star backing band, the Dap Kings.  This is the most energetic performer out there in terms of raw energy and emotion- bar none.  The fact that she is returning to the road after a battle with cancer makes this show even more of a "wow."

04.   The War on Drugs, Pabst Theater, 9/20/14
-I had the pleasure of seeing the War on Drugs both at the Pabst as well as at the Metro in Chicago when their tour kicked off in March.  The September outing showcased a more polished live show of a band who reached a critical high this year.

03.  Tweedy, Pabst Theater 6/16/14 

-I have never seen a more engaging performance of a band who sold out the Pabst without the audience knowing any tunes from the band's first set, as Sukierae, didn't come out until September.  That said, Jeff Tweedy, son Spencer, and their band delivered a superb performance which one could argue even over shadowed some of Jeff's solo material from the same evening.

02. Trey Anastasio Band- Pabst Theater, Pabst Theater, 2/5/14 

-There are nights when musicians are really on, and I'd argue that I have never seen Trey Anastasio in finer form than I did at the Pabst on 2/5/14.  Listening to the live recording of this show, you can really tell how "into it" Trey was.

01.  Wilco, Riverside Theater, 12/3/14   

-Favorite band.  Front row.  Wonderful and robust thirty-song set list that spanned the band's career.  What more can one ask for?  This was the best I've seen Wilco perform in Milwaukee since their 2009 two-night run at the Pabst Theater.

Buffalo Gospel- Anodyne Coffee Roasting Company, 12/20/14

photo courtesy of GigShots by Stephen Bloch

When you think of Americana music, what comes to mind?  According to the Americana Music Association, "Americana" is defined as, "contemporary music that incorporates elements of various American roots music styles, including country, roots-rock, folk, bluegrass, R&B and blues, resulting in a distinctive roots-oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw."  For a simpler definition, I'd invite you to listen to Buffalo Gospel a band who has been called Milwaukee's best kept musical secret by many concert goers and critics. After checking them out in the beautiful confines of the Anodyne Coffee Roasting Company, it is easy to see why.   Blending vivid narrative songwriting, ethereal harmonizing, and a musical line-up featuring acoustic and electric guitars, bass, mandolin, fiddle and brilliant brush drumming, Buffalo Gospel proved to be the "real deal," when they played last Saturday at Anodyne Coffee Roasting Company in Walker's Point.

Fronted by singer-songwriter, Ryan Necci, Buffalo Gospel performed a fifteen song set which focused on their 2013 release We Can Be Horses, along with a smattering of older material and new track, "Here Lies Our Lovin'."  At Saturday's show, the band performed as an eight piece with Christopher Porterfield of Field Report joining his friends as a guest guitarist.  The guitar work in Buffalo Gospel is noteworthy, as Necci plays in a very unique style- one I've never seen before in fact- using a capo and also his left thumb to bar the chords on his acoustic guitar.  Allen Cote, who plays electric guitar, punctuates songs with his creatively-energizing fills and riffs, and Porterfield's proficient rhythm work added the create a full and rich sound.  Adding layers to the sound were violinist John Patek and mandolin player/vocalist Ryan Ogburn.  Another key component of this band is the wonderful harmonies between Necci and fellow vocalist, Heidi Spencer.  The interplay between these two talented musicians reminded me a bit of the Decemberists with Colin Meloy and Jenny Conlee.  

photo courtesy of Stephen Kallao

There was a real sense of community between the artists and the audience at this show, which made it feel more like a holiday gathering of friends- new and old- and less of a "concert," so to speak.  To quote, my friend, and Juniper Tar member, Aaron Schleicher, "you won't find a more polite group of folks than these guys."  I could not agree more.  There is a sincerity in the music that comes across even more so when you meet the musicians themselves.  I think it's this tangible "realness" that makes Buffalo Gospel's music resonate with its listeners.  

Opening for Buffalo Gospel were two very talented acts, Simon Balto and Heidi Spencer and the Rare Birds, both who delivered quality sets of music. Spencer's set included the use of Anodyne's house piano which added an extra element of honky tonk to her tunes.

Also, noteworthy in this performance was the venue itself.  The Anodyne Coffee Roasting Company was clearly the best smelling venue I've been in ever!  Instead of the smell of hard cleaners and stale beer which often accompanies small clubs, imagine the rich aromas of fresh coffee and tea permeating throughout the building.  Adding the the ambiance was a truly pristine acoustical set up. which worked wonderfully for all of the acts.  I would easily go see another show here based on venue alone.  Along with the Cedarburg Cultural Center, I'd call Anodyne a "must visit" venue for good music. 


Setlist:
Mule
Hill Outside My Home
Song of the Ox
The Northern
The Southern
The Eastern
The Western (The Devil Is Me)
Rock Island
Here Lies Our Lovin'
Hoarse as a Crow
If I Was the Last Man
When God's Away On Business
Son of a Gun 
All That I Got Left
Letters to Geo

MKE Rocks: Top 14 for 2014

Here we go with my favs of '14...

14. Spoon- They Want My Soul

Austin, Texas's most consistently good rock band, produced another gem of three chord guitar hooks this year with They Want My Soul.  The signature Spoon sound is alive and well with tracks like "Rent I Pay," and "Knock Knock Knock."  

13. Sturgill Simpson- Meglamodern Sounds of Modern Country

This Louisville based troubadour exploded onto the scene with a traditional country style of songwriting.  His narrative tales and expert slide guitar work make this a standout release.  "Turtles on the Way Down," "Long White Line," and "It Ain't All Flowers" are exceptional numbers on the disc,

12.  Sylvan Esso- Sylvan Esso

The debut record from this electro-pop duo is infectious.  Driven by Nick Sanborn's expert beats and loops, and Amelia Randall Meath's unique vocal flow, Slyan Esso delivers a whole lot of sound for just two people.  "Coffee," "H.S.N.T.," and "Play It Right," are great tracks that showcase this artist's unique sound.



11.  Woods- With Light and With Love

Woods, a Brooklyn-based psychedelic folk-rock band released a gem this year.  Their sound has a jammy element coupled with more poppy vocals and arrangements.  The album showcases the diversity of this band.  The title track is a near 10 minute epic of a jam.  Other highlights include the more accessible, "Moving to the Left," and "Shining,"

10.  St. Paul and the Broken Bones- St. Paul and the Broken Bones

The big band soul sound of this outfit from Birmingham, Alabama fills the room.  Singer Paul Janeway has a mighty set of pipes which propels this young soul-revivalist band forward into fresh territory.  Their album is solid, but pales in comparison to their live show.  "Like A Mighty River," is the strongest tune off the record, followed closely by "Call Me," and "Broken Bones and Pocket Change."


9.  Ryan Adams- Ryan Adams
While not quite a comeback record, Adams delivered a very strong release that is up there with some of his better work of his career.  Adams is a true master songwriter as evidenced by rocking numbers like "Gimme Something Good," "Feels Like Fire," and "Stay With Me," alongside slower ballads like, my personal favorite, "My Wrecking Ball."

 

8.  Strand of Oaks- HEAL
An emotionally raw record from start to finish, Timothy Showalter delivers on Strand of Oaks's most recent release, HEAL. This record functions well as a whole piece as well as in individual tracks.  The first track, "Goshen '97" featuring J. Mascias of Dinosaur Jr. fame on guitar is a blistering rocker that drives the record towards other highlights like, "JM," "Shut In," and "Mirage Year."

 

7.  Tweedy- Sukaire
Jeff Tweedy and son Spencer's project ranges from folksy numbers to more experimental rock. While you can hear the Wilco frontman's trademark vocal style, this is a an album that stands alone as a solid record.  The playful "Summer Noon," country-rocker, "Fake Fir Coat," and jammy "Diamond Light, Part 1" stand out on this diverse record.

6.  Jack White- Lazaretto

You can't find too many artists who can genre blend as nimbly as Jack White.  Lazaretto has strong tracks that would be considered rock, blues, and country all on one disc.  The driving instrumental "High Ball Stepper," hard rocking title track, "Lazaretto," and laid back, alt-country tune, "Higher Ground," illustrate this point on White's follow-up to my 2012 album of the year, "Blunderbuss."

5. Beck- Morning Phase
Beck released what I consider to be one of his all time finest records this year.  Morning Phase sees the prolific artist in more a singer-songwriter mode, masterfully telling tales.  It is hard to believe that this is the same guy who brought us Odelay nearly 20 years ago!  "Morning," and "Heart is a Drum" are two of the classic tunes this record provides.  With thoughtful, well-constructed lyrics and melodies this will be a go-to record for some time.

4.  Real Estate- Atlas
The third record from this Brooklyn indie rock band sees them at their finest as songwriters and musicians.  Dreamy tunes like, "Past Lives," and "Crime" suck you in, alongside more sweeping rock tunes like, the stand out, "Had to Hear."  This band is tops on my "need to see live" list, as they continue to progress and hone their craft.  

3.  First Aid Kit- Stay Gold

The Swedish indie folk duo of Johanna and Klara Soderberg released a beautiful record this year, chucked full of pitch perfect harmonies, clever guitar arrangements, and reflective lyrics.  Folk music is nothing new, but these two sisters give it a catchy modern take.  "My Silver Lining," "Stay Gold," and "Waitress Song," help anchor this outstanding record from start to finish.

2.  Field Report- Marigolden
Marigolden is an exceptional record from start to finish which layers sounds on top of one another to create complex arrangements. Catchy melodies, great lyrics and a diverse pallet of music drives this record home.  You know an album is great when you listen to songs over and over and still get goosebumps.  While the whole album is fabulous, "Home (Leave the Lights On)," "Wings," and "Summons" are three of the best.

1.  War on Drugs- Lot in a Dream
Lushly layered instruments, exquisite production, and ultimately creative and contemplative songs make this year's "Album of the Year" a shoe in from early March.  War on Drugs is a progressive rock band hitting their stride.  Every time I listen to Lost in a Dream I discover something new.  This is the mark of a piece of music that is likely to withstand the test of time.  It is simply beautiful from start to finish.  "Under the Pressure," "Burning," "Eyes to the Wind," and my personal favorite, "In Reverse," are all A+ tracks.

Volcano Choir- Turner Hall, 11/30/14

Photo by CJ Foeckler Photography

For folks passionate about music that has gained national acclaim coming from the "Dairy State," Volcano Choir's show at Tuner Hall quickly became the hot ticket in town.  Volcano Choir started their "Repave" tour at the historic Pabst Theater in September, 2013, and chose to conclude their tour a little more than a year later at the Turner Hall Ballroom on November 30th.

For their part, Volcano Choir stayed true to form, performing an array of songs from their two releases, last year's critically acclaimed Repave, and 2008's Unmap. Volcano Choir played a rich set highlighting tracks from both records backed with a wide array of sonic effects and an intriguing light show which featured lights bouncing off of a textured canvass.  For his part, Justin Vernon, Volcano Choir's front man, stood behind a podium of sorts, performing more electronic arrangements.  Volcano Choir's sound is complex, layered, and often times even a little "out there."  They are very good at what they do, and for an experimental folk band that pushes the boundaries a bit, I commend Volcano Choir's effort.  Highlights included, the bombastic "Tideway," the first track from Repave, the groove laden "Acetate," and the show highlight, as far as I was concerned, the dramatic "Byegone." As a band, the material from Repave seemed to fit their live show a little better than some of the slower numbers from Unmap.  With that said, tunes like "Island IS" translated well live and had more energy than on the record. A good sign of things to come, a new track called, "The Agreement," would rival only "Byegone" as the most engaging number of the night, showing that the band is continue to forge along creating new and interesting sounds.

The special surprise opener for Volcano Choir was Slyan Esso, and I must admit that their high energy and animated set upstaged the headliner.  The duo jumped on stage (literally) with Nick Sanborn (a Milwaukee native who played most notionally in Decibully) donned in a Milwaukee Bucks basketball jersey and vocalist Amelia Meath in a black dance dress and tights.  The duo proceeded to mix beats and dance throughout the opener's 45 minute set.  Sylvan Esso had the jam-packed Turner Hall Ballroom bopping along to their electo-pop sounds.  Highlights included blistering tracks off of their 2014 debut record including, "Dreamy Bruises," "H.S.K.T.," and their hit, "Coffee," which features vocalist Amelia Meath's sultry swagger and original flow. The crowd exploded with as warm of a reaction as I've ever seen for a support act.  After all, Meath addressed the crowd saying that when they were just getting started Volcano Choir took them out on their first tour.  Sylvan Esso's top notch performance will rank in my top shows of the year list and made me feel like I was really getting two headlining performances for the price of one.

Photos by CJ Foeckler Photography

Sturgill Simpson- Turner Hall, 12/5/14

photo by Melissa Miller Music Photography

 Sturgill Simpson is an artist who has exploded upon the scene, often heralded as the "new voice" in traditional country music.  His most recent release, Metamodern Sounds of Country Music has drawn significant critical praise in all sorts of music circles, and has also earned him a Grammy nomination for best Americana record.   I went to Turner Hall to check out this songwriter and guitarist and see what all the buzz was about.  I left with my expectations well-exceeded.  Simpson, at one point in the set, commented on how, "last year when he played Turner Hall there were maybe 150 people there, and now everyone seems like they've brought six more of their friends."  This is an artist who is growing in popularity quickly and I have a feeling will be playing much larger venues in the future.  

photo by Melissa Miller Music Photography

Simpson, as a songwriter, tells personal tales with an outlaw country edge, much in the tradition of the iconic troubadours who have proceeded him.  His music invokes a spirit of Wayland Jennings or Willie Nelson in the 70's.

Simpson's ninety minute set blended elements of traditional country, Americana and jam band. While Simpson was a stand out performer and guitarist on his own, his band carried the set, driven by the exceptional brush drumming of Miles Miller, and the slide guitar genius of Laur Joamets, who invoked the spirit of Duane Allman on some of his jams and riffs.

The crowd who came out to see Sturgill Simpson was pretty diverse, while mostly male.  You had hipsters standing alongside folks in Wranglers and cowboy hats, equally taking in the ambiance and music of a singer-songwriter clearly on the rise.

photo by Melissa Miller Music Photography

For an opening act, Lucette, provided some beautiful country-tinged singer-songwriter music.  Her cover of Ryan Adams's classic, "Oh Sweet Carolina," was delivered with passion and poise with just Lucette and her keyboard. Despite the loud crowd, Lucette's keyboard and cello-based tunes were well-received.

Wilco- Riverside Theater, 12/3/14

photo by Stephen Bloch

"Good evening Milwaukee... our home away from home," Wilco troubadour Jeff Tweedy exclaimed, smiling sheepishly at the capacity crowd which filled the Riverside Theater on a chilly December Wednesday to see Wilco’s 20^th Anniversary Tour’s stop in Milwaukee.  Mr. Tweedy was right—Milwaukee has been a second home to the Chicago-based sextet over the past two decades, which has seen the band rise from a H.O.R.D.E Fest side stage opener, to a small club act, to a Summerfest side stage headliner, to headlining the Rave and Eagles Ballroom, to a perennial Riverside theater sell-out. 

In many respects, Wilco has grown from a band that was once thought of as a shoot off of former alt-country juggernaut Uncle Tupelo, to a musical pioneer who has helped usher in an era of singer-songwriter driven indie rock with their masterpiece release, Yankee Hotel Foxtrot in 2002.

As a music fan, Wilco is undeniably my favorite band, and has pretty much provided a sound track to my post-UW Madison adult years.  Judging by the demographic of the crowd that packed the Riverside Theater, I am not the only one of my generation who has felt a personal connection with this band. 

Wilco is an act that is both comfortably familiar and ruthlessly challenging for its listeners all at the same time.  Instrumentally, they are fronted by a singer-songwriter who has mastered the art of crafting narrative tales with plenty of negative space for the listener to interact with to make the songs personal to him or her.  Couple that with an all-star line up of musicians and you have your rock ‘n roll equivalent of the 1992 Olympic men’s basketball dream team—a group that can function beyond proficiently on its own, and truly exceptionally as a whole unit.  On lead guitar is virtuoso experimental axesmith, Nels Cline, whose chops are on par with anyone in the music industry.   A vibrant drummer/percussionist, Glen Kotche, can be seen one minute heavily pounding the toms and the next using jingle bells as his drums sticks on his kit.  Founding member, John Stirratt is the glue of the whole operation, driving rhythms and grooves to the songs, and providing the majority of the secondary vocals for the band.  Add in keyboardist Mikael Jorgensen and multi-instrumentalist, Pat Sansone, and you have a band that can take Wilco’s signature layered sound on their albums and not only recreate the music, but push it to the next level in a live setting. 

photo by Stephen Bloch

For their set, Wilco was Wilco… providing familiar numbers alongside deep cuts.  It was clear from the start that this was a unique performance, as the winter leg of their “20^th Anniversary Tour” consisted of only the Milwaukee performance alongside a multi-night Chicago residency at the Riveria Theater where the band vows to play their entire catalogue of material in one form or another.

The concert featured thirty tunes that spanned the band’s career, alternating between familiar material for most fans, to deep cuts that even I had to scratch my head to determine the title of the song.  The show, which lasted over two and a half hours, never lost energy and was masterfully crafted to allow the listeners to sing along with some numbers and experience the joy of lesser known tracks side-by-side.  Some highlights included: “Poor Places,” the second track of the evening, and penultimate number from 2002’s historic Yankee Hotel Foxtrot record segueing into “Art of Almost,” the first track off of the band’s most recent studio endeavor, The Whole Love from 2011.  “Cars Can’t Escape,” a track off of an Australian released EP that followed 2004’s A Ghost is Born sounded fresh and vibrant and led into a show highlight, the hardly-ever played, “Feed of Man,” from the Billy Bragg and Wilco’s Mermaid Avenue collaboration.  Jeff Tweedy was kind enough to answer our question from the crowd about the name of that tune, as it escaped us all, but showcased some of the best slide-guitar work from Nels Cline that I’ve ever seen.  Another Mermaid Avenue track, “Airline to Heaven,” was given a more country remake.  A surprising highlight came in the form of “Laminated Cat,” a track from Jeff Tweedy’s side project, “Loose Fur,” which featured sweltering slide guitar from Nels Cline.  The three songs that ended the main set were also noteworthy and built great energy in the audience.  Yankee Hotel Foxtrot’s uplifting rocker, “Heavy Metal Drummer,” flowed into the Sky Blue Sky track from 2007, “Walken,” and then back into a highlight from Yankee Hotel Foxtrot, “I’m the Man Who Loves You.” 

 

photo by Stephen Bloch

The band played two encores.  Their first one was a traditional encore, which featured all the band on their main instruments, performing solid versions of “Passenger Side,” from 1995’s “AM,” “Dawned on Me,” from 2011’s The Whole Love, and closing with “Shot in the Arm,” from 1999’s Summerteeth. 

photo by Will Piper

Another show highlight came as the band chose to perform acoustically with minimal amplification for their final encore, playing all acoustic and stripped down instruments at the front of the stage.  This set up allowed for even often played favorites like 1996’s Being There stand out “Misunderstood” to feel fresh.  The band also dug deep into their back catalog at this portion of the show covering Uncle Tupelo’s classic, “New Madrid,” and performing “Casino Queen” from AM  and the rarely played “Dreamer in My Dreams” from Being There to send the crowd home happy and enthusiastic.

Wilco’s rich catalog, exceptional musicianship and desire to progress makes them a rock ‘n roll band that has stood the test of time over the past twenty years, and continues to remain relevant today.  As Tweedy sings in one of my all-time favorite songs, “Misunderstood,” “there’s a fortune inside your head…”  I am curious and excited to see what that “fortune” brings us as Wilco transitions into the next stage of their career.

Milwaukee, 12/3/14 Setlist

First Aid Kit- Bradley Theater, Lakeland College, Plymouth, WI 11/21/14

Is there anything more beautiful in music than pitch-perfect vocal harmonies?    This question was posed to the capacity audience by the sisters from Stockholm, Sweden, Klara and Johanna Söderberg, better known as First Aid Kit, during their stunning performance at the Bradley Theater at Lakeland College.  

First Aid Kit has become quite the buzz band on the indie folk scene this year, following their exceptional release Stay Gold, which was released in June.  From a country known for more dance and electronic musical exports like Abba, Ace of Base, and more recently, The Knife, First Aid Kit has redefined the Swedish sound to an extent, rooting themselves in the Americana, country, and folk genres.  The band received considerable buzz from notable musicians, including collaborating with Connor Oberst of Bright Eyes fame, and also opening some shows for Jack White.  This stop on the Stay Gold Tour was perhaps the most unique. While the band is selling out mid-sized theaters across the country, this show saw them play the Bradley Theater, which holds a little more than 400 people at Lakeland College in Plymouth, WI, about an hour north of Milwaukee.  

The approachable and humble nature of the Söderberg sisters was ever present in their set.  Johanna recalled their day in Milwaukee, and gave a shout out to 88.9 Radio Milwaukee for featuring them in a studio performance earlier in the afternoon. Sister Klara also stated that this was their first time playing at a college.  

Accompanied by a virtuoso drummer and an exceptional multi-instrumentalist (who rotated between pedal steel, guitar and mandolin), the band opened with "The Lion's Roar," an energetic and passionate first  track off of First Aid Kit's 2012 album by the same name.  Other highlights included a chillingly intricate performance of "Ghost Town," which was sung by the two sisters without microphones or amplification.   "My Silver Lining," the band's breakthrough track off of Stay Gold, provided great energy as well.  Perhaps the highlight of the show, was the somewhat surprising track that followed their hit. First Aid Kit recalled meeting and touring with Jack White, and performed, "Love Interruption," magnificently, giving White's original a fresh and passionate take.  The show closed with the song "Wolf," a bonus track off of the band's 2012 record with each of the band members leaving the stage until the drummer finished off the show with an impressive staccato solo.  

First Aid Kit returned for an encore, performing"Waiter at the Station," a Willy Mason cover, whom First Aid Kit toured with previously.  For this number, opening act Samantha Crain, joined the band.  From there, the band played "Master Pretender," and closed the evening's music with a riveting take on "Emmylou," perhaps the band's biggest hit and a stand out number.

Speaking of Samantha Crain, her storytelling heavy set opened the show.  Crain's lyrics, like those of First Aid Kit, are very much the focal part of her music.  In her half hour set, she played a variety of  numbers from throughout her catalog, including, a highlight, "Devils in Boston," from 2009's Songs in the Night release.  Her vocals, like those of the Söderberg sisters were fantastic. 
To answer the musical question posed by the Söderberg sisters, "is there anything more beautiful in music than pitch-perfect vocal harmonies," for their hour and fifteen minute set, the answer, according to First Aid Kit is undeniably, "NO."

Setlist:
The Lion's Roar
Stay Gold
Blue
King of the World
In the Hearts of Men
Waitress Song
Shattered and Hollow
Ghost Town
My Silver Lining
Love Interrupted (Jack White cover)
Heaven Knows
Wolf

Encore:
Waiter at the Station (Willy Mason cover) with Samantha Crain
Master Pretender
Emmylou all photos courtesy of GigShots by Stephen Bloch.

The New Pornographers- Pabst Theater, 11/13/14

photo courtesy of Benjamin Wick Photography

It's been a good four years since the indie-rock super group from Canada had visited Milwaukee for a concert.  I have had the pleasure of seeing the New Pornographers several times in the past including their March 11, 2006 show opening for Belle and Sebastian at the Riverside Theater, along with their October 2007 and June 2012 shows at the Pabst Theater.  This show, like the ones in the past, saw the New Pornographers playing to their strengths-- performing high-octane indie power-pop rock with minimal breaks between songs.  Thursday's concert was perhaps the best I've seen the New Pornographers live as they now are drawing from a deeper catalog, and putting on a nearly two-hour concert, including a double-encore highlighting tunes from throughout their career.  As a wise person once said, "if it ain't broke don't fix it," and this mantra surely can been seen as the formula of success for the New Pornographers, and their longevity to engage and draw near capacity crowds each time they play.

photo courtesy of Benjamin Wick Photography

The band was touring in support of their latest 2014 release, Brill Bruisers, a record which sees the seven piece super group return to old form, focusing on three chord guitar riffs, quick vocal interplay between Neko Case and A.C. Newman/Dan Bejar, and a heavy dose of keyboards to hold the melodies together. The concert opened with "Brill Brusiers," the most infectious and title track off of the new album.  "Dancehall Donine," was another highlight from Brill Bruisers that was played early in the set and well-received by the fans.  Later in the set, the group performed, "Champions of Red Wine," another new stand-out track which accentuated Neko Case's powerful vocal range.

However, the highlights of the show were clearly material from the group's back catalog.  The crowd erupted into a sing-along during the Dan Bejar track, "Myriad Harbor" (from 2007's Challengers). As is customary, Bejar will join the band for numbers he plays on, and then disappear backstage to until he is needed again.    He certainly got the crowd going when he was on stage though, performing an anthematic "Testament to Youth in Verse," (from 2003's Electric Version) mid set.

Neko Case had her share of highlights, nailing crisp vocals on "Challengers," (from the 2007 album of the same name), and"Crash Years" (off of 2010's Together).

A.C. Newman is certainly the band leader who keeps the eclectic personalities of the New Pornographers in order, and deserves his place as the front and center leader of the band during numbers like, "Moves" (from 2010's Together), "Use It" (from 2005's stellar Twin Cinema), and "The Laws Have Changed," (from 2003's electric version), to name a few.

The band knows how to craft a set list to make fans go home happy, and ended the show in grand fashion, closing with a riveting "Mass Romantic," (from their 2000 debut release of the same name), encoring or the first time with "Bleeding Heart Show," (off of 2005's Twin Cinema, and arguably the band's signature number), and even dusting off "My Slow Decent," (of off 2000's Mass Romantic) to end the concert after the crowd demanded a rousing second encore.  

If you didn't like the New Ponrographers before, I am not sure how much Thursday's show did to recruit new fans to the band.  Their performance was highly energetic, tried and true and the show had the audience cheering for more even after a set of over twenty tunes.  As long as the New Pornographers keep crafting their infectious pop-rock, I am certain their Milwaukee audience will come out to see it.  .

Photo courtesy of Benjamin Wick Photography

Field Report- Pabst Theater, 10/22/14

“And a very happy Field Report Day to YOU,” Christopher Porterfield stated, humbly coming forward to the microphone donned in a classic brown suit, bowing slightly to the packed crowd of devoted Milwaukee music fans who came out to see a local musical hero return home for his album release party on a Wednesday evening. Earlier in the day, Milwaukee Mayor Tom Barrett dropped by the 88.9 Radio Milwaukee studios while Field Report was playing a studio session to officially declare
today, “Field Report Day” in Milwaukee. This honor seemed somewhat overwhelming for Porterfield who has been thrust into the local limelight of celebrity on account of his band’s stellar release “Marigolden,” which came out on New York-based indie label Partisan Records a little more than two weeks ago.

For their triumphant set in front of a captivated hometown crowd Field Report played their entire new album, “Marigolden,” along with a few tactfully-peppered-in tunes from their 2010 self-titled debut, for what amounted to a magical evening of music.

Field Report’s lush sound was crafted by a tremendously talented trio of musicians which featured songwriter Christopher Porterfield on vocals, guitar and keyboards, Madison native, Tom Wincek (of All Tiny Creatures and Volcano Choir), a multi-instrumentalist who specializes in electronic music, on keyboards, bass and layering sounds, and drummer, banjo player and harmonizing vocalist Shane Leonard gluing the whole outfit together.

The collective talents of these three virtuoso musicians gelled to create a beautifully rich sound that captivated the enormously respectful crowd at the Pabst Theater. You could literally hear a pin drop in between numbers at this show, as fans sat on the edge of their seats soaking up the sonic landscape of tales weaved together by Field Report.

 

Field Report Trio

The set opened with “Decision Day,” the uplifting opener off of Marigolden, and transitioned seamlessly into the first single off the album, “Home (Leave the Lights On).” With merely two tracks in, the audience was completely sucked into the performance, engaged and mesmerized by the sheer amount of textured music created by these three gentlemen. The third track of the evening, the somberly haunting, “”Pale Rider,” delivered its gut-wrenching tale with raw emotion and a terrific visual complement of white spot lights shown down on the musicians. For “Cups and Cups,” Porterfield employed a vocal distortion which gave the tune an added layer of complexity. It was apparent early on in the show that Tom Wincek, while unassuming in stage presence, was octopus-like in juggling a myriad of instruments, triggering electronic loops, and essentially serving as the sonic architect for the group.

In what many may consider the highlight of the set, Wincek and Leonard left the stage for the fifth track, “Ambrosia.” Porterfield declared, “We’ve got all sorts of honesty up here,” as he removed his glasses, telling how he sometimes awkwardly would hit them on the mic as he’d sing on this number. He then took the time to thank everyone, including the Pabst/Riverside crew for making this performance such a special evening. Stark, raw and pulling from the heart, “Ambrosia,” was delivered with earnest emotion which captivated the crowd. In somewhat of a surprising move, the band launched into a powerful track from their self-titled debut, “I’m Not Waiting Anymore” next, featuring the whole band back on stage and Porterfield (sans glasses) on the keys.

Having now hit his stride of confidence on stage, Porterfield transitioned from the keyboard back to his primary post as guitarist, frankly recounted to the crowd how he just realized that for about 20% of the shows he’s played up until then he’s most likely had his fly down. This drew laughter from the crowd and smiles from the singer, whose brutal honesty in his craft is what bonded everyone in the audience together after all.

Back on guitar, Porterfield launched the band launched into “Wings,” which was awe inspiring live as the track is so intricately layered on the record. “Marigolden,” followed, the title track off of Field Report’s recent release, filled with symbolism of how we all bloom, fade and prune as individuals as we journey throughout life. The band then segued into “Michelle,” which featured the beautiful keyboard melody anchoring down the track.

In my recent interview with Porterfield, he promised some rearrangements of older tracks for the show. However, no one could have anticipated what happened next. Unplugging their instruments, the band ventured to the center of the stage with a lone microphone between the three men. Porterfield and Wincek armed with acoustic guitars, and Leonard with a banjo, proceeded to deliver a stripped down mini-set consisting of “Talking Alcatraz,” and “Fergus Falls,” which ended with a thundering round of applause from the audience.

Plugged back into their regular instruments after the acoustic interlude, the band played “Summons,” an uplifting and hopeful tale which showcases Porterfield’s mastery of using negative space in his songwriting to allow the audience to fill in the gaps and insert their own experiences into the tale. The crowd crooned along as they sang the chorus, “I’m coming home to you,” along with the musicians on stage. “Enchantment,” the final track off of “Marigolden,” unsurprisingly concluded the set and caused the crowd to erupt in a sea of applause, delivering a standing ovation for the band. Porterfield returned to the stage for “Route 18,” from his debut release to conclude the show and leave the crowd both satisfied and yearning for more all at the same time.

As a songwriter, Porterfield has taken a huge step forward with “Marigolden,” and the live record release show will go down as one of my musical highlights of the year. The honesty and raw emotion of the tunes on the album came across wonderfully live and made the audience leave the exquisitely beautiful Pabst knowing they experienced a remarkable evening of music which will be talked about in this town for years to come. Bravo, Field Report, you nailed it!

review was originally published at http://ozaukeemag.com
All photos courtesy of Gigshots by Stephen Bloch

Field Report: Marigolden Album Review and Interview with Christopher Porterfield

Originally published at Ozaukee Magazine and http://countyist.tumblr.com/

"Leave the Lights On: Field Report Triumphantly Returns for a Marigolden Show:"
by Will Piper; photos arranged by A. Ryan Thompson

In their sophomore release, Marigolden,  Milwaukee-based indie folk-rock band Field Report delivers a thoughtful, inspiring,  and above all, reflective album that recounts the essence of the human experience though a series of nine songs that work together wonderfully in isolation but fit together like a puzzle when put all together.

Lyrically enchanting, sonically both melodic and complex, and overall mesmerizing, Marigolden stands out as a stellar release of 2014, and a record-of-the-year contender for many music critics, myself included.  Simply put, if you like good singer-songwriter based music that will enchant you musically and challenge you lyrically; this is a must-have album for your collection. 

The record opens with a sense of hopeful exuberance with “Decision Day,” an uplifting track that encourages the listener to get out there and find something inspiring.  In a key line, singer-songwriter Christopher Porterfield (whose name as an anagram serves as Field Report’s name-sake) states, “you practiced your name in the margins of a 100,000 rough drafts, I heard they’ve roughed you up pretty bad,” showcasing the human need for work and revision.  Nobody is perfect after all.  The second track of the record, “Home (Leave the Lights On)” is the album’s first single and furthers the idea of the search for self though experience.  In what may be my favorite lyrical image of the entire record, Porterfield relays both the beauty and messiness of being human, “Downtown’s dolled up with tinsel and angels, seasons sneak like haircuts- teased apart and tangled, we were praying for a while and we took it all down, like Garland hanging off traffic signals.”

While considerably more of an uplifting record than Field Report’s self-titled 2012 debut, there are certainly some more somber tracks onMarigolden.  The potently spacey alt-country track “Pale Rider” recounts a tale of sadness over letting go of a relationship. The narrator in this track may be lamenting the loss of a person or an idea… and while ambiguous, Porterfield recounts that, “I don’t know that I can be the place to go or what you really need.”  “Ambrosia,” is another emotionally reflective number.  In it, Porterfield relays the tale of a character stuck in a depressive rut, who keeps “spinning his wheels,” that “nothing is going to change.”

As stated in his recent in-depth interview with deejay Steven Kallao of 88.9 Radio Milwaukee,  Marigolden was a record written for vinal format, and “Ambrosia” decidedly was placed as a marker between the first and second halves of the album.  The second half opens with a musically daring number, “Wings,” which sonically may be the most complex tune on the record, layered with synthesizers, percussion and subtle nuances both from a sonic and lyrical perspective.  This tune puts a fresh take on the classic Greek mythological story about Iccarus and his journey to the sun.  The album’s climatic moment, comes in the pen-ultimate tune, “Summons,” a song that revisits the reoccurring theme of movement and transition that runs across the nine songs on the album with a sweeping chorus where the narrator calls out, “I’ll be coming home to you.”

Marigolden, was released on New York based indie label Partisan records (home to other Wisconsin indie exports Slyvan Esso and Phox) on Tuesday, October 7th and has received rave reviews from local publications like the Milwaukee Journal Sentinel to national publications like Paste Magazine.   What makes Marigolden such an exceptional release is its humility, soundscapes, and lyrics which transplant the listener into the narrative of the characters described vividly in Porterfield’s songs.

As a teacher by trade, Porterfield’s lyrics anchor the record and stand out as exemplary models in modern storytelling.  I had the pleasure of catching up with Porterfield  this past Sunday via phone from Kansas City, Missouri to talk about how he learned his craft as a songwriter, the theme of travel and transformation in his record, how he considers Milwaukee his home and his upcoming show at the Pabst Theater on October 22.

When did you dedice you wanted to be a songwriter?

Being a songwriter just snuck up on me.  I played music for number of years and it just kind of grew.  I studied journalism at UW-Eau Claire, and then moved to Milwaukee to be with a girl who I met there.  We’ve been married now for 8 years.  I wasn’t doing writing at that time I first came to Milwaukee, and songwriting grew out of missing the act of writing.

What do you like about Milwaukee?It gives me energy and is my place to figure out who I am as a person and a writer. It’s an exciting time for Milwaukee. Milwaukee’s changed so much in the 8 years I’ve been there.  We talked about moving, but it comes down to, “Where would I go?” Nashville? Toronto? Minneapolis? Durahm?  Milwaukee is home, man, and I love it there, and I’m proud of it and we’re in it for the long haul.  Milwaukee is great because it’s small enough to develop your work quietly and big enough to find places to play when it’s time to do so.  It’s also centrally located, so you can route an east coast tour well from Milwaukee and a west coast tour from MKE.”

I hear from folks that you’re a Vikings fan.  How has moving to Milwaukee changed or altered your sports team allegiances?  
(laughing) I’m originally from Minnesota as you know.  I’ve adopted the Brewers as my National League team and love them and and the Bucks as my Eastern Conference team.  Old affiliations die hard, however and I’ll always be a Vikings fan.

Speaking of sports, you’re on tour right now in Missouri, is baseball fever rampant there?For sure.  We just did some shows in St. Louis and Hannibal, Missouri, and there was no blue to be seen.  I tried to find a Royals hat as I’m on the bandwagon, and there were none to be found in eastern Missouri.  I like them… they’re an underdog team like the Brewers and it’s fun seeing them do well.  Hopefully I can find a hat now that we’re in Kansas City.  I’m sure we’ll see some blue here!

On your recent record, Marigolden, you use lots of traveling images in album, referencing other places like Mobile, New Mexico, and Durham.  You also talk a lot about a sense of “home,” which can be both a physical and metaphorical image.  How does Milwaukee play into this?Honestly, I’m thinking about my wife as a sense of home.  The idea of home for me is not a physical place but it is returning to a state of balance; becoming centered again.  Travel and displacement is an element on the record for sure.  The first record for Field Report was written at home, mostly in my dining room.  It’s perhaps best listened to at home in a quiet environment.  This record was written while on the road promoting the first record.  This one might work best in the car. The environment where something is created can continue to impact record.

Clearly, crafting vivid lyrical images and striking similes is your strength. How did you learn to write like you do?
I’ve always been a reader and remain a reader.  On this record I just got better at working in this form.  One of the things I have figured out is to put in specific images, people or places, in the songs so that the listener can find a reference point, but also allow enough space for them to complete the story in their head.  Ernest Hemmingway is a good example of creating this negative space.  I also wanted to be honest and open with a lot of the songs.  The songs are places that I can live in comfortably, and I’ll have to be living in them a lot as we support the record over the next few years.  It’s good to leave holes to let others bring their thoughts to the table and allow them to be part of the conversation with the music. Good records require active participation.  If you’re willing to take time to put yourself into the experience, you’ll get more out of it.  We built this record to stand up for multiple listens.

What has been most satisfying about the making of Marigolden and the subsequent tour?Making the record was a culmination of playing hundreds of shows between the first record and this one.  Seeing the record come together as a real cohesive piece has been satisfying.  Listening back to the record I’m still really pleased with it.  We did good work and we stand behind it.

The people that we have in the band right now are working to recreate it (Marigolden) intentionally in a live setting.  It’s really exciting to present a live show with this body of work.  You can tell that people have lived with the record for a while and coming to the shows familiar with it.

There is a real sense of lushness and musical nuance on the record. How do you go about trying to translate that live?

The charm of the record is all of the subtext that we reference musically, and the colors within the narratives of the songs.  Live I’ve enlisted Tom Wincek from Madison of “All Tiny Creatures,” and “Volcano Choir.” He’s been working extensively with electronic music and I called him up and he’s helped us create all of the colors and subtexts.  On tour we have myself, Tom and Shane Leonard on  drums, singing, banjo, and triggering loops.  He was a big part of making the record too.  He had a lot to do with making the record.

So, all of that sound comes from just three people?(laughing) Yes!

Radio Milwaukee Music Awards

Recently, you did a really cool interview with Steven Kallao of 88.9 Radio Milwaukee where you sat down and trackedMarigolden, doing essentially a “director’s cut” of the record.  How did you connect with Kallao and come up with the “Tracking Marigolden” project?

I have been in the Radio Milwaukee studio to do promotion for “Alverno Presents: Marvin Gaye.”  I have known Kallo and am friends with him and get a lot of energy from Kallao and we started talking about doing something like this.  As we wrapped up the recording of this record, we started talking about things I could do with the station.  We came up with a project that got put off for now called, “What We Talk About When We Talk About Songs,” and created a show that would have me interviewing songwriters about their writing and life on the road.  We both got very busy so this didn’t take off, but then we started talking about things that would be cool for the 88.9 audience and he came up with the idea of doing an interview going through the album track by track.  It’s a cool thing to wave the flag for 88.9 and the record and was a win-win for everyone.  It was really fun to do.

What can we expect at the Pabst show on the 22nd?You can expect a band that is pretty tight, pretty excited to be in that room (the Pabst) with the hometown crowd, and hear the record created pretty accurately live.  We’ll probably do a few older songs with different arrangements and have a good light show going by then. We hope to put on a good show with a crowd that’s happy to be there and it’ll be a real nice time.

We look forward to checking out Field Report at the Pabst Theater on October 22nd and hope that you do too.

Article by Will Piper. Teacher, music fan. Ozaukee & Milwaukee County Enthusiast.