To say I remember the winter of 2008 is an understatement. My wife Jeni was pregnant with monoamniotic twins and the worry, anxiety, and uncertainty of being an expectant first time father with a wife who was dealing with a high-risk pregnancy was all consuming. To add to everything, the winter of 2008 was one of the snowiest on record.
It was during this winter of worry when I was first introduced to an artist named Bon Iver (who’s name supposedly translates to ‘good winter’) and the record For Emma, Forever Ago. I recall For Emma providing me somewhat of a catharsis to the life and uncertainty that was evolving around me. The album embodied the vulnerable emotions I was feeling at the time. Lyrically, it was simultaneously relatable and challenging, and musically, it was a folk record that had something just “different” about it. For Emma, was a late night listen for me when I’d write our blog Life With The Pipers to share with family and friends the ups and downs of this time in our lives.
I’d like to say that I was one of the hipster elite who saw Bon Iver in 2008 at Mad Planet or at the Pabst Theater that year, but I was not there. In fact, my first time seeing Bon Iver live was on “Bon Iver Day” proclaimed by Milwaukee Mayor Tom Barrett when Bon Iver’s second record, the self-titled Bon Iver, dropped in 2011. Subsequently, I have seen Bon Iver at Eaux Claires in 2015 and 2016, and have been introduced to a plethora of artists thanks to Justin Vernon. Sylvan Esso, Hiss Golden Messenger, and Phil Cook are three of the artists who I regularly have on rotation that I discovered as a direct result of listening to Vernon and attending the Eaux Claires festival.
I’d like to say that I was one of the hipster elite who saw Bon Iver in 2008 at Mad Planet or at the Pabst Theater that year, but I was not there. In fact, my first time seeing Bon Iver live was on “Bon Iver Day” proclaimed by Milwaukee Mayor Tom Barrett when Bon Iver’s second record, the self-titled Bon Iver, dropped in 2011. Subsequently, I have seen Bon Iver at Eaux Claires in 2015 and 2016, and have been introduced to a plethora of artists thanks to Justin Vernon. Sylvan Esso, Hiss Golden Messenger, and Phil Cook are three of the artists who I regularly have on rotation that I discovered as a direct result of listening to Vernon and attending the Eaux Claires festival.
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| photo Daniel Ojeda, PTG Events Group |
Fast forwarding to today, I can share proudly that Bon Iver is one of the artists whose music has been linked closely with the playlist I’ve developed in my 30’s and now 40’s. The performance of For Emma 10 Year at the sold out BMO Harris Bradley Center was not so much about nostalgia as it was about being in the moment. The show featured Vernon and a large group of collaborators from the past and current day performing the entire record For Emma, along with a smattering of tracks that were played during the original Bon Iver tour and even an unreleased number. The crowd at the BMO Harris Bradley Center was like none I’ve ever seen at an arena show. It was as if the show as at the Riverside Theater with pin drop quiet for the majority of the 90 minute performance. The nuanced music of For Emma came alive in the rather cavernous arena with a fresh vitality. While I have enjoyed Bon Iver’s recent performances at Eaux Claires, it was most refreshing seeing Vernon with a guitar in hand for the evening. Highlights of the performance included the original Bon Iver trio of Sean Carey, Mike Noyce, and Vernon performing “Skinny Love” early on in the set. “Re: Stacks” was goosebump inducing with Vernon performing his cathartic opus solo. Other highlights included a stunning debut of “Hayward, WI” a tune Vernon penned around the time of the For Emma sessions, and a riveting set closing version of “The Wolves Act I and II)” with 15,000+ fans singing along.
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| Chris Porterfield on the big screen at the BMO Harris Bradley Center |
Opening for Bon Iver were two notable Milwaukee-area acts, Collections of Colonies of Bees and Field Report both of whom have new albums coming out soon. Field Report opened the night in the home of lead singer Chris Porterfield’s beloved Milwaukee Bucks. Playing all new material from their soon to be released record, Summertime Songs, Field Report ripped through an upbeat set to start off the evening. Porterfield is one of the best lyrical storytellers out there, and even in the large venue, the rawness and intimacy of his songwriting resonated. New tracks like “Blindspot,” “If I Knew,” “Never Look Back” and “Summertime” (which featured Milwaukee artist Mark Waldoch on backing vocals) were well-received by the large audience who came early to catch their set.
Up next was Collections of Colonies of Bees, whose robust full sound had no problem in the BMO Harris Bradley Center. Playing new music from their forthcoming Hawaii record, Chris Rosenau and company lead a powerful set of rock tunes featuring a multiple guitar attack and a barrage of effects pedals. What made this incarnation of Collections of Colonies of Bees extra special were the ethereal vocals provided by Marielle Allschwang. Allschwang has performed in other Milwaukee bands, most notably Hello Death, and her lush vocals complimented the guitar heavy jams to make for a memorable support performance.
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