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| copyright Benjamin E. Wick |
Friday, June 20, 2014
Chris Robinson Brotherhood- Turner Hall Ballroom, 6/18/14
The Chris Robinson Brotherhood may be the most organic jam band on the scene today. While fronted by the same person of The Black Crowes fame, there are more differences than similarities between these two acts. The Chris Robinson Brotherhood perhaps evokes the spirit of the Grateful Dead more than any other currently touring act. They are mellow and BIG on jamming and improvisation with most of their tunes clocking in at 8:00 minutes or longer. Backed by top-notch musicians, Robinson and his band mates deliver a show with sweeping, mellow soundscapes and jams that could be relevant in 2014 or in the 1974. Their timeless sound drew about twice as many people as attended their show last time at Turner Hall a couple of years ago. In that time, the side-project has released three additional albums (a live one and two studio records) since their debut Big Moon Ritual from 2012. While I was not as familiar with the band's more recent work, I found the first set closer, a cover of the Black Crowes "Roll Old Jeremiah" to be stellar. As far as guitar work, Neal Casal did a fabulous job anchoring the Brotherhood with melodic riffs and jams.
Thursday, June 19, 2014
Nicki Bluhm and the Gramblers- Shank Hall 6/17/14
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| photo courtesy of Gigshots by Stephen Bloch |
The "Van Sessions," while clever do not hold a candle to the power of the band's original music. Drawing heavily from their 2013 self-titled album, Nicki Bluhm and the Gramblers along with older tracks off of Driftwood, Toby's Song, and Duets, along with some unreleased material, Bluhm and her band mates delivered a truly riveting performance at Shank Hall before about 200 fans.
Backed by a very strong group, the Gramblers, Bluhm and company performed a 90 minute set of 70s- inspired country rock, which reminded me a lot of Little Feat material with Shaun Murphy on lead vocals. However, while I had the pleasure of seeing Little Feat fronted by Shaun Murphy on several occasions, to be honest, I think Bluhm's range would blow Murphy, or just about any other front woman out of the water. She is THAT good. In fact, I cannot think of a current touring performer with a bigger, more dynamic voice than Nicki Bluhm's. Yes, to say it again, she is THAT good.
Some of the highlights of the set included the band's current single and hit "Little Too Late," a soulful rock number which showcases Bluhm's dynamic range as a front woman. "Kill You to Call," was another stand out tune, which was more bluesy in nature and featured stellar keyboards by Tim Bluhm. Bluhm's extraordinary vocals allowed the band to make a bold move in covering Jefferson Airplane's "Somebody to Love" which transformed Shank Hall into the scene from Ben Stiller's 1995 cult favorite, The Cable Guy, with a fan-base ranging from college students to men and women in their sixties grooves and swayed to the track, which sounded as close to in-her-prime Grace Slick could have sounded. However, above all, the highlight of the show was a foot-stomping country-bluegrass track, "Squeaky Wheel," which featured dueling vocals between Nicki and Tim Bluhm.
Simply put, this show had me and the crowd engaged and then some from the first note on. If you haven't heard of Nicki Bluhm, please know that you will soon.
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| photo courtesy of Gigshots by Stephen Bloch |
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| photo courtesy of Gigshots by Stephen Bloch |
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| photo courtesy of Gigshots by Stephen Bloch |
Wednesday, June 18, 2014
Jeff Tweedy- Pabst Theater, 6/16/14
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| photo ©2014 CJ Foeckler |
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| ©2014 CJ Foeckler |
Simply put, Jeff Tweedy is a storyteller. Whether he is playing with his main musical outlet, Wilco, by himself, or with his son and several other musicians, Jeff's songs create sweeping landscapes and tales. Taking in the show from the second row of the beautiful Pabst Theater was quite an experience to behold, as I was literally looking up at my favorite singer-songwriter. While I've seen Tweedy solo on several occasions prior, the show Monday night at the Pabst Theater was perhaps his most unique solo venture to date. Tweedy opened with a set of tunes from his forthcoming album Sukierae which is slated for release in September. This portion of the show saw the troubadour backed by a group of younger musicians, including his son Spencer on the drums. Tweedy's new material was excellent, and despite not knowing any of the songs aside from the opener, "Down from Above," I, along with the rest of the crowd was thoroughly engaged. Jim Elkington, the touring guitarist at times invoked the spirit of Wilco axe man extraordinaire Nels Cline with some of his riffs and arrangements. Much of this newer material varied from darker timbres to more pop-rock numbers that were, in general, more straight forward than Wilco arrangements. Simply put, the new stuff was good, and I can't wait for Tweedy's record to drop later this year.
The second half of the show was more of what we've come t expect out of Jeff Tweedy solo... Jeff, alone with his guitar, telling stories and playing songs. Tweedy is known for his crowd banter, and I was pleased to be acknowledged from the second row by my favorite singer regarding my retro Brewers hat, which was a sign that "he was in Wisconsin." Tweedy also made comments throughout the evening about whether or not Neil Young would get so many "good jobs" in between songs. This lighthearted friendly demeanor would make Tweedy's songs and stories appropriate for both the Pabst Theater as well as your front porch. Tweedy's acoustic set featured songs spanning his work with Wilco, Uncle Tupelo and Golden Smog. Highlights included a splendid start to the acoustic portion with "Via Chicago," "Spiders (Kidsmoke)," "Muzzle of Bees," and the Yankee Hotel Foxtrot classic, "I'm Trying to Break Your Heart" kicking off the show. Other highlights were a jingly version of Uncle Tupelo's "New Madrid," and slightly rearranged, "Jesus, Etc." The set closer, "Pecan Pie" was exceptionally well-played as a dedication, to his wife Susan Miller who is battling lymphoma.
For his encore, Tweedy really wowed the crowd, with a cover of Doug Sham's "Give Back the Key to My Heart," a tune that was performed regularly with Uncle Tupelo, with Jay Farrar taking the lead vocals. It was a somewhat eerie selection as it was the very last tune Tupelo played together at their May 1, 1994 Mississippi Night performance in St. Louis before disbanding (#wilconerdforknowingthat). Finally, to cap off the evening, Tweedy stood before the crowd with performing an un-miced version of "Misunderstood," one of my favorite tunes from Wilco's catalog of tunes.
Overall from new material to older classics, it was a night of wonderful music and stories shared by all.
For his encore, Tweedy really wowed the crowd, with a cover of Doug Sham's "Give Back the Key to My Heart," a tune that was performed regularly with Uncle Tupelo, with Jay Farrar taking the lead vocals. It was a somewhat eerie selection as it was the very last tune Tupelo played together at their May 1, 1994 Mississippi Night performance in St. Louis before disbanding (#wilconerdforknowingthat). Finally, to cap off the evening, Tweedy stood before the crowd with performing an un-miced version of "Misunderstood," one of my favorite tunes from Wilco's catalog of tunes.
Overall from new material to older classics, it was a night of wonderful music and stories shared by all.
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| ©2014 CJ Foeckler; check out the guy with the Brewer hat in the second row :) |
Setlist: compliments of setlist.fm
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(Wilco song)
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(Wilco song)
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(Wilco song)
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(Wilco song)
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(Uncle Tupelo song)
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(Wilco song)
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(Wilco song)
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(Golden Smog song)
- Encore:
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(Doug Sahm cover)
Tuesday, June 17, 2014
My favorite concert ever- 20 years later: My reflection of Phish 6/17/94
Excitement swelled up in me to a level where I could not eat
my Taco Bell Mexican Pizza. I stared at it, picked the cheese off the top, and
even stabbed the tortilla crust repeatedly with my spork to create a somewhat
rhythmic crunching sound.
“So, what if they open with 'Llama,' or 'Burried Alive,' what will follow next? Or
what about something odd like 'David Bowie,' could they open with that? Man, with the new Hoist album, they could drop Julius or Down with Disease to start
the show too… man, I don’t know?!?!” I stammered at my friend Matt as he was
enjoying his soft shell Taco Supreme, seemingly oblivious to my onslaught of
nervous energy.
“Relax, Pipes,” Matt responded, “whatever they play will be fantastic.” As I would soon discover, Matt was spot on right.
This is the opening of a memory that has been burned in my mind for the past twenty years since attending my first Phish concert on June 17, 1994 at the Eagles Ballroom in Milwaukee, Wisconsin. I have seen hundreds of concerts since this time. However, given the time and place in my life, this show was similar to the character Ralphie receiving the Red Rider B-B Gun in A Christmas Story. It was the best concert I had seen, and will forever remain my favorite concert experience, even twenty years later.
I was sixteen years old, and I would argue that at the time there was no other band in the world that was more important to me. I was a high-school student enamored with four men from Vermont who happened to create some pretty interesting music… they were alternative-ish, jazzy-ish, bluesy-ish, and above all, they were their own unique brand of sonic energy. They were Phish.
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| photo from kdrt.org |
“Relax, Pipes,” Matt responded, “whatever they play will be fantastic.” As I would soon discover, Matt was spot on right.
This is the opening of a memory that has been burned in my mind for the past twenty years since attending my first Phish concert on June 17, 1994 at the Eagles Ballroom in Milwaukee, Wisconsin. I have seen hundreds of concerts since this time. However, given the time and place in my life, this show was similar to the character Ralphie receiving the Red Rider B-B Gun in A Christmas Story. It was the best concert I had seen, and will forever remain my favorite concert experience, even twenty years later.
I was sixteen years old, and I would argue that at the time there was no other band in the world that was more important to me. I was a high-school student enamored with four men from Vermont who happened to create some pretty interesting music… they were alternative-ish, jazzy-ish, bluesy-ish, and above all, they were their own unique brand of sonic energy. They were Phish.
I had been collecting Phish bootleg tapes at that point for
about a year. I had accumulated over a
hundred different shows, in an era before the Internet was in full-swing, where
every tape you collected was a result of a face-to-face encounter or snail
mailing blanks and postage to folks who listed their taping services in the
back of Relix magazine. Yup, that was the Phish scene for a high
schooler in the mid 1990’s. One of my
friends had an older brother who went to school out East, which resulted in a
good chunk of my collection at that point.
When I got the Doniac Schivice newsletter in the mail in
early May (the black and white version) and saw that Phish was coming to
Milwaukee, I practically leaped for joy.
My summer was made! There was
only one problem… convincing my parents to let me go to the show. Phish was playing in downtown Milwaukee at a
venue called the Eagles Ballroom. It was
an old athletic club that was converted to a concert venue in an area close to
the Marquette University campus. As a
new driver, my father was horrified with the prospect of me driving the family
car downtown from our home in the north-eastern Milwaukee suburbs to where the
Eagles Ballroom was for the concert. As
non-music fans, the fact that I was so enamored with Phish was something that
was beyond comprehension for my parental units.
However, through whatever good-will I could muster, promises of extra
lawn mowing, and busting out every
“butter up the ‘rents” trick in my book, my folks eventually gave in and
allowed me to attend the show provided that my dad drive my friend Matt and I
to and from the concert. While I loved
the independence of driving, like any other sixteen-year-old, I felt this was
an adequate consolation to be able to see the band that was the apex of the
food chain for me at that time.
After finishing our meal at Taco Bell, my dad drove us to
the Eagles Ballroom. The doors opened at
seven o’clock with the concert starting at eight, and we arrived at seven on
the dot to try to get the best spot we could. Upon entering the Eagles
Ballroom, people began clamoring for their sports while the house music played
a reggae record that created a chill, upbeat vibe in the venue. Matt secured a nice spot in the third row
about half-way between where Page McConnell had his keyboard and organ rig and
Trey Anastasio’s guitar position.
While Matt secured seats, I had a first Phish show priority
of my own to take care of… securing a live recording of the concert. I
meandered back by the taper’s section and began chatting it up with a friendly,
portly man who looked about twice my age at the time, a taper by the name of
Dave, or, as I would call him, “Taper Dave.” Dave was from northern Illinois and had taped
several shows, and had hours of Phish, Dead, Allman Brothers, etc. I had lots of tapes, but most were second or
third generation. Dave showed me his rig and was all set to record
two sets of blissful music. He gave me
his address, and I told him that I would be sending blanks and postage the next
day (which I did). Little did he or I
know at the time that we would continue to exchange tapes and music
conversation over the next several years.
With the tapes secured, I grabbed Matt and I a couple of
Sprites and settled into the steamy confines of the Eagles Ballroom. It was the hottest day of the summer by far,
with temperatures outside in the mid-nineties with palpable humidity and the
venue felt like and smelled like a steam room in a gym. My plain grey Gap t-shirt was already
half-way black with sweat before the show started… in part due to the immense heat in the venue,
and in part due to my own nervous energy.
The uncomfortable
feeling of being hot, sweaty, and stinky, all went away the moment that the
lights went out and the crowd erupted with joy.
There they were… Jon Fishman on drums, in his swirly donut dress, Mike
Gordon, rocking a pair of Nike high top basketball shoes, jeans and a pink tank
top, Trey Anastasio, in jeans and a multi-colored striped button down, and
Page McConnell in a white button down and jeans. They were here, and best of
all, I was here with them!
Matt and I shouted
back and forth our final predictions for the opener, “Runaway,” I cried! “Peaches En Regalia,” retorted Matt. Trey
grabbed his Paul Languedoc custom guitar looked at his bandmates and started in
on the opening cords of “Runaway Jim.” I
jumped up and down hysterically, “calling” the opener, and with 3,000 or so
other fans in unison joined Trey for the opening line, “I had a dog, his name
was Jim. Runaway, runaway, runaway…”.
The band then flowed “Runaway Jim” into the funky bass thumping “Foam”
which was fairly standard-practice during that era. Next up was “Glide,” which featured the
donut-dressed wonder knocking the wood blocks as part of is drum set to start
off the tune. “Split Open and Melt”
followed with some serious shredding on Trey’s part. The band finally paused for a second after
this tune and slowed things down with “If I Could,” a slower more succinct
track off of their latest release at the time, Hoist. This was followed by
my first Phish “bust out,” “Punch You in the Eye,” which was scarcely played
during the time leading up to the ’94 summer run. This was pretty amazing in my opinion, as I
yelled, “Hey!” during the start of the tune along with the other folks in the crowd
who knew this number. This rocking track
was followed by a loosely-grooved “Bathtub Gin,” where The Chairman of the
Boards, Page McConnell, got into some jazzy piano jamming. “Scent of a Mule,” followed, which sent the
crowd into a bouncing frenzy during this county tinged number. The set came to a roaring close with
“Cavern.” By the time Trey told us
they’d be back in fifteen minutes, I wiped my soaking, sweaty head and looked
at Matt, and both of us, almost on cue, just said, “Wow!” The best part of it was that we get a whole
other set coming up.
Intermission was a time to rehash with our concert neighbors about highlights- mine were definitely
“Punch You in the Eye” and “Runaway Jim.” We also got a couple more cold Sprites which were drank very quickly. As a testament to Phish fans, folks saw that I was really sweaty, and I had a complete stranger come and hand me a bottle of water, stating that, “I need more aqua to keep on dancing.”
Intermission was a time to rehash with our concert neighbors about highlights- mine were definitely
“Punch You in the Eye” and “Runaway Jim.” We also got a couple more cold Sprites which were drank very quickly. As a testament to Phish fans, folks saw that I was really sweaty, and I had a complete stranger come and hand me a bottle of water, stating that, “I need more aqua to keep on dancing.”
While I was drinking water and Spite at intermission,
something big was going on in the outside world, unbeknownst to us in the
venue. June 17, 1994 was the day of the
epic police chase between athlete/actor O.J. Simpson and the Los Angeles Police
Department. O.J. in his white Ford
Bronco was being chased all over L.A. and we were sticky and oblivious to this
in the Eagles Ballroom. However, with
their backstage TV, Phish was watching this car chase go down, and decided to
build O.J.’s epic flight into their second set.
The lights went down for the second time, and the goosebumps
on my arms appeared again. The show was
far from over. The band started off
muttering, some stuff about O.J. which would only make sense after the show
concluded. The opening track, “Also
Sprach Zarathustra” contained a “go for it O.J.” line, and featured, up to that
point, the best lighting from Chris Kuroda that I had seen. “Sample in a Jar,” followed, showcasing
another track off of Hoist, which
arguably is one of the more poppy tunes the quartet ever penned. A break-neck “Poor Heart” was next, which had
the crowd bopping in delight, with a loud, “run OJ run!” from Fishman and a
great bass solo from Mike “Cactus” Gordon.
Some of the best jamming of the night followed with a hard-rocking
version of “Mike’s Song,” which sandwiched “I am Hyrodgen” and a new number at
the time, “Simple” into the mix before launching into the ever-funky “Weekapaug
Groove.”
What was to follow next, however, exceeded my wildest
expectations as a Phish fan for my first show.
The sweltering confines of the Eagles Ballroom must have gotten Trey’s
creative juices flowing, as the four musicians went into the, “Ooh, pa pa, ooh,
pa, pa, ooh pa, pa” opening which singled one of the rarest of rare Phish
tracks- “Harpua!” Not only had I gotten the “Punch You in the
Eye” bust out, but now, I get to hear the tale of the “fat sweaty bulldog” and his
rampage across the outskirts of the suburban sector of Gamehendge, which
featured a reprise of “Simple,” as well as a “Purple Haze” tease. Coming out of this nearly twenty-minute epic
was an uptempo version of “Sparkle,” which could have very well ended the set,
but the band went on with a “Big Ball Jam,” where I got to touch one of the
giant beach balls that came out into the crowd.
The set ended with the opening track off of Hoist, ”Julius,” flowing into
a cover of Edgar Winter Band’s “Frankenstein.”
The encore found the band going to the pairing of “Sleeping Monkey” and
“Rocky Top Tennessee.”
When the house lights went on signaling the conclusion of the show, Matt and I filed out of the Eagles Ballroom. I stopped by the merchandise table and grabbed a Phish logo t-shirt which I quickly swapped out for my soaked through grey Gap shirt. We filed out with the crowd, speechless, and found my dad’s car right outside of the venue next to the Scrub a Dub Car Wash. “How did he score the prime spot?” I wondered, as Matt and I climbed into the Pontiac Grand Prix.
“So, how was it,” Dad asked. Matt and I just looked at each other- we had not even spoken since the show’s conclusion, “AMAZING would be a total understatement, Dad,” I replied. Matt and I then exchanged high fives and began rehashing the show.
When the house lights went on signaling the conclusion of the show, Matt and I filed out of the Eagles Ballroom. I stopped by the merchandise table and grabbed a Phish logo t-shirt which I quickly swapped out for my soaked through grey Gap shirt. We filed out with the crowd, speechless, and found my dad’s car right outside of the venue next to the Scrub a Dub Car Wash. “How did he score the prime spot?” I wondered, as Matt and I climbed into the Pontiac Grand Prix.
“So, how was it,” Dad asked. Matt and I just looked at each other- we had not even spoken since the show’s conclusion, “AMAZING would be a total understatement, Dad,” I replied. Matt and I then exchanged high fives and began rehashing the show.
My dad interjected,
“You’ll never guess what happened tonight?
O.J. Simpson got chased by the police in Los Angeles.” All of a sudden I was able to connect the
dots between the band’s O.J. references throughout the second set, and realized
that we had witnessed something on stage that night that was truly
extraordinary and would never be replicated again.
My dad shared days later that he got the spot in front of
the Scrub-a-Dub Car Wash right next to the Eagles Ballroom because he arrived
an hour and a half before the show was over and sat there waiting listening to
the whole O.J. chase unfold on the radio, just as Matt, me, and the audience
were experiencing this same thing through the music of Phish and their
references to O.J. in the second set.
Twenty years later, this show plays out in my mind just as
if it were yesterday. I have seen hundreds of concerts since the
June 17, 1994 Phish show. I’ve seen
Phish about twenty times since then alone.
However, being sixteen and seeing the band that meant the world to you
at the time was something that you can never replicate. This show was extraordinary for many reasons
, the least of which is that it showed me the power of what an amazing live
performance can be like.
Twenty years later, I am a husband and father living in the
suburbs with three children of my own.
And, despite of this, I still go to a lot of shows. The magic of live music is as palpable as it
was that steamy night in the Eagles Ballroom, although I don’t think anything
can, or ever will, replicate the pure joy of living in the then and now of that
concert experience.
Wednesday, June 11, 2014
Spanish Gold- Turner Hall Ballroom, 6/10/14
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Spanish Gold is a rock 'n roll super group comprised at its core of three very accomplished musicians, Dante Schwebel of City and Color (and formerly of Hacienda), Patrick Hallihan (of My Morning Jacket) and Adrian Quesada of Grupo Fantasma. Their debut release, South of Nowhere is a rock 'n roll record in its purest form, featuring catchy guitar riffs, melodic choruses, and just the right amount of swing and swagger. The fact that these three men have been in several different bands in their career, boded well for both their musical craftsmanship as well as their presence and performance on stage.Spanish Gold made a stop on their debut tour in Milwaukee at Turner Hall, and played to a couple hundred enthusiastic fans who were engaged from the first note of "One Track Mind," the first cut from South of Nowhere. Simply put, you can tell quickly when people love what they're doing, and this band clearly enjoys playing together and having fun on stage. The trio were backed on tour with a bass player, a female background vocalist/keyboardist and a female background vocalist/percussionist. This made for almost an iconic "throw back" rock sound which literally got more than half of the crowd out of their seats and bopping along with the tunes.
Their hour plus set comprised of, according to Schwebel at the end of the performance, all of the material that they knew. And, to be blunt, all of it was darn good. Highlights included the excellent percussion from Hallihan on "South of Nowhere," where Hallihan went between his drum kit and a side Latin percussion rig, the shredding of Quesada and Schwebel on "Lonely Ride," the harmonizing between the female background singers and Schwebel on "Shangri La," and, of course the deep rhythmic grooves of "Out on the Street," the featured single played on 88.9 Radio Milwaukee, which contains a ridiculously infectious bass line and chorus.
However, as a surprise to the audience, the band concluded with a cover of Bell Biv Devoe's early 1990's tune (and MTV classic) "Poison" which featured Schwebel singing in falsetto backed by incredibly strong drumming from Hallihan, which perfectly mimicked the drum machine on the original track, but with a bit more gusto.
After the show I was pleased to have the opportunity to talk to Schwebel and Hallihan individually Both men were sincere, genuine, and loved conversing with fans. They took their time with fans, took pictures, and were genuinely appreciative of the crowd's reaction to their music. To quote Schwebel, "We're having a total blast. It's great to just be able to go out there and play some rock." I also even talked baseball with Hallihan which resulted in his idea of a "Little League Pose" photo with him alongside Steven Bloom and myself.
When a band has as much fun on stage playing music as Spanish Gold did in Milwaukee, it's awfully hard not to have a total blast. After all, isn't that what good rock 'n roll is all about?
Setlist:
One Track Mind
Movin' On
South of Nowhere
I Want You
Day Drinkin'
Something in my Heart (Ghetto Brothers cover)
Don't Leave Me Dry
Lonely Ride
Stay with Me
Reach for Me
Shangri La
Out on the Street
Poison (Bell Biv Devoe cover)
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| Spanish Gold rocking out |
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| Pipes, Patrick Hallihan, Bloomer |
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| Dante Schwebel & Pipes |
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| Little League pose |
Friday, June 6, 2014
Vampire Weekend- BMO Harris Pavillion, 6/4/14
The first time I saw Vampire Weekend, was in April of 2008 at Turner Hall Ballroom. The show was sold out, or very close, if memory serves, on the heels of a white hot, self-titled debut record from the quartet formed at Columbia University. Aside from the Turner Hall Ballroom being full-to-the-gills, I recall the band being young and somewhat awkward on stage. Who could blame them? This was a group of young Ivy League musicians who had played regionally out east and at local colleges just months prior, and now, thanks to the Internet, were thrust upon a national scene with considerable buzz. I also recall the lead singer/guitarist, Ezra Koenig, not making a ton of eye contact with the crowd, let alone engaging the audience. At the time, this was a band of unexpected musicians. Little did I, or the band know, what the future would hold.
Fast forward 6 years, and we find Vampire Weekend at the height of their career thus far. Spurred on by an exceptional release, 2013's Modern Vampires in the City, which earned a coveted spot on many critics' top albums of 2013 lists (including mine), and a Grammy at that, Ezra Koenig and company have soared to new heights as musicians and performers. Any awkwardness from 2008 is long gone. A bare-bones house lights show has been replaced with an elaborate visual spectacle that included Greek-style pillars hanging up, a curtain covered with floral designs as a background, a light show that would be comparable to any national arena act, and even the unique touch of a mirror which would project images and make funky effects when the stage lights hit it. The 2008 fresh from college band has turned into one of the hottest bands in the country.
When we ask ourselves how this happened, the answer is easier to see than one might think. Often times, Vampire Weekend evokes the spirit of Graceland era Paul Simon. And, who doesn't love Graceland? The Afro-beat guitar styling of Koenig and guitarist and multi-instrumentalist Rostam Batmanglij served as a centerpiece of the majority of the band's tunes. This was most evident on "White Sky," the second tune performed in the set which, in many ways, serves as a microcosm of the band's sound. Any awkwardness must have worn off of bassist/vocalist Chris Baio long ago, as he was the most animated of the group, frequently tuning his back to the audience and shaking his tush not unlike George Michael in the famous '80's "Faith" video. While this was registered as "unnecessary" and even more-so "comic" by me and my concert companions, the high school girls and college women didn't seem to mind in the least.
Musically, Vampire Weekend played a nice variety off of their three records. Newer numbers like "Step," "Everlasting Arms," and "Obvious Bicycle" got the crowd bopping and singing along. Although, when you really think of it, which tune did Vampire Weekend play that was not greeted with a warm audience reception? The diverse crowd ranged from high school and college students, to men like myself, in their mid thirties, to several folks who were older. It takes a special band with a neat sound to pull off that kind of an age-range of an audience. Vampire Weekend's unique blend indie- Afro-beat rock proves they are just the act to do so.
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Set list from setlist.com
Fast forward 6 years, and we find Vampire Weekend at the height of their career thus far. Spurred on by an exceptional release, 2013's Modern Vampires in the City, which earned a coveted spot on many critics' top albums of 2013 lists (including mine), and a Grammy at that, Ezra Koenig and company have soared to new heights as musicians and performers. Any awkwardness from 2008 is long gone. A bare-bones house lights show has been replaced with an elaborate visual spectacle that included Greek-style pillars hanging up, a curtain covered with floral designs as a background, a light show that would be comparable to any national arena act, and even the unique touch of a mirror which would project images and make funky effects when the stage lights hit it. The 2008 fresh from college band has turned into one of the hottest bands in the country.
When we ask ourselves how this happened, the answer is easier to see than one might think. Often times, Vampire Weekend evokes the spirit of Graceland era Paul Simon. And, who doesn't love Graceland? The Afro-beat guitar styling of Koenig and guitarist and multi-instrumentalist Rostam Batmanglij served as a centerpiece of the majority of the band's tunes. This was most evident on "White Sky," the second tune performed in the set which, in many ways, serves as a microcosm of the band's sound. Any awkwardness must have worn off of bassist/vocalist Chris Baio long ago, as he was the most animated of the group, frequently tuning his back to the audience and shaking his tush not unlike George Michael in the famous '80's "Faith" video. While this was registered as "unnecessary" and even more-so "comic" by me and my concert companions, the high school girls and college women didn't seem to mind in the least.
Musically, Vampire Weekend played a nice variety off of their three records. Newer numbers like "Step," "Everlasting Arms," and "Obvious Bicycle" got the crowd bopping and singing along. Although, when you really think of it, which tune did Vampire Weekend play that was not greeted with a warm audience reception? The diverse crowd ranged from high school and college students, to men like myself, in their mid thirties, to several folks who were older. It takes a special band with a neat sound to pull off that kind of an age-range of an audience. Vampire Weekend's unique blend indie- Afro-beat rock proves they are just the act to do so.
Set list from setlist.com
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