The War on Drugs- The Metro, Chicago, IL 3/23/14

It is a rare sight at a show when the headlining performer comes out, tunes all of his own guitars, and checks the band's equipment while stage hands help set up, but this is exactly what Adam Granduciel, lead guitarist and vocalist of The War on Drugs, did Sunday night before he and his band took the stage at the sold-out Metro in Chicago.  Granduciel is riding a wave of critical accolades over the past week since Lost in a Dream, the band's third LP came out. Simply put, Lost in a Dream is one of the best records I've heard, not just this year, but of the past decade (up there in terms of my personal enjoyment with Bon Iver Bon Iver, and Sufjan Stevens Come on Feel the Illinoise).  With the band about a week into their tour, I was curious to see how this album would translate live, and made the journey south on the toll road, literally to the land of the Cubs (we parked across from Wrigley Field) to see this performance.

Despite Granduciel's laid back appearance, donning a Jeff Tweedyesque blue denim jacket, t-shirt, and jeans on stage, he was quite the meticulous musician who frequently checked guitar tuning even after prepping the guitars himself before the show started to ensure optimal sound.  The fans at the show were equally seemingly laid-back while and simultaneously intense, focused on their concert experience.  There were no "we're here to rock" selfies being taken, and from my vantage point on the floor, very few fans left their spots to use the bathroom, let along get refreshments, during the band's two-hour set.  Everyone was glued on the stage and the performance, and for very good reason.

Backed with a bass player, keyboardist, drummer, horn player, and synthesizer/multi-instrumentalist, The War on Drugs came out sounding like a well-oiled machine.  The band started the night with the concluding track off of Lost in a Dream, "In Reverse," a reflective number that is often reserved for the set-closer.  In somewhat of a surprise move, they then launched into the opening song off of Lost in a Dream, "Under the Pressure."  The songs juxtaposed each other nicely.  Next came the mid-tempo "I Was There" off of 2011's acclaimed Slave Ambient record. From there, Granduciel and the boys segued this tune into the uplifting alt-country rocker, "Eyes to the Wind," which was introduced with Graduciel promising the capacity crowd that "spring will come to Chicago."  This is one of my favorite tracks off of Lost in a Dream and was played very solidly with great interplay between the musicians especially during the jam portion.  Other stand out tracks in the set included, the rocking "Burning," which in tempo and composition reminds me of an updated version of Bruce Springteen's classic "Born to Run" aimed at the millenial generation.

The War on Drugs- "Burning"

"Little Missiles," another stand-out song from Slave Ambient, was also great and featured a bluesy harmonica jam from Granduiciel which in some ways echoed the more classic 1960's era Bob Dylan material.  Perhaps the overall show highlight was the title track, "Lost in a Dream." This number came across simultaneously gut-wrenching and hopeful, making it more powerful live than even on the album.  The song resonates with me personally as a track about anxiety, uncertainty, and the fact that love ultimately will triumph over all.  I'll admit to getting goosebumps upon hearing this song live, just as I did the first time on the record.

Instead of taking a break for an encore, Granduciel told the crowd they would keep playing until they were told they had to be done.  The result was an energetic robust show, which the singer told the crowd was the best of the tour, citing Chicago as his favorite place to play.  This show was about as emotionally intense as any I've seen in quite some time, with respectful fans hanging on every  The War on Drugs is an act that is not to be missed on this tour, and a band who sonically I feel is just getting going with perfecting their craft.  

The War on Drugs- "Come to the City"

Setlist (compiled by Will Piper, Dave McMillan and Kevin Gonring)

In Reverse
Under the Pressure
I Was There
Eyes to the Wind
Suffering
Red Eyes
Burning
City Reprise #12
Baby Missiles
Lost in a Dream
-slight break... band decided to forgo traditional encore and just play as many tunes as they could in their time
Mind Games (John Lennon cover)
An Ocean Between the Waves
Disappearing
The Animator
Come to the City
Brothers (slow-tempo version)
Black Water Falls

Album Review: The War on Drugs- Lost in a Dream

Adam Granduciel, the singer-songwriter behind the Philadelphia-based quintet, "The War on Drugs," delivers a remarkably reflective and distinguished album in the band's third full-length release, Lost in a Dream.  From the opening track, "Under the Pressure," to the album's finale, "In Reverse," Granduciel and his band mates create a sonic landscape that blends modern production with stripped-down, genuine, soulful Americana arrangements.   Pairing these arrangements with Granduciel's reflective lyrics and stellar guitar play creates an extraordinary record that, in its own way, embodies a microcosm of modern America in 2014, blending together electronic soundsc with roots rock to create something fresh. Simply summed up, Lost in a Dream serves as a reminder to us all that despite all of the modern inventions and innovations, (hash tags, selfies, text-speak, tweets, etc.) we are essentially human beings longing for acceptance, belonging  and a sense of purpose.

From "Under the pressure, like the arrival of a new day" to "like a light that's drifting, in reverse I'm moving," Granduciel book ends his opus with a sense of reflection and contemplation.    Along the way, tunes such as the uptempo "Red Eyes," the sweeping "An Ocean Between Waves" the hopeful "Eyes to the Wind" and the arena rocking "Burning" draw you in to appreciate the journey.  As many other critics have commented on, Granduciel's effort echoes influences from exceptional singer-songwriters who achieved their peak success in past eras-- most notably, Bob Dylan, Bruce Springsteen, Tom Petty, Mark Knopfler, and even to an extent Jeff Tweedy.

Lost in a Dream is an album that is enjoyable both as a whole piece as well as in its respective parts.  Each of the tunes stand alone as songs, but put together create a more conceptual composition.  To quote a fellow musician and fan, Kevin Gonring, "Granduciel's meticulousness in his keyboard and synthscape, as well as what he's running his guitars through creates an overall aura on the record."  This aura keeps the themes consistent throughout the album.  Lost in a Dream in many ways is an album full of slight sonic nuances which keep you coming back for more after each listen.  

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Trey Anastasio Band- Pabst Theater 2/5/14

photo courtesy of Gigshots by Stephen Bloch

photo courtesy of Julie Piwowarczyk

Some artists, when you have seen them numerous times, don't come across as new acts anymore, but rather old friends.  Such is my relationship with Trey Anastasio, the prolific guitarist from Phish.  Having been a fan of Phish since my high school days, I've had a chance to see the Burlington, Vermont quartet perform over twenty times.  As a solo artist, this was my fourth Trey show.  I recall seeing his first ever solo tour in 1999 at the Oscar Meyer Theater in Madison, followed by a performance at Alpine Valley in July of 2001, and then again at the Pabst Theater in February of 2010.  Trey's show last evening at the Pabst Theater, however, may have been his finest hour as a solo act and bandleader.

First off, when reviewing the Trey Anastasio Band, we must remember that this is not Phish.  While the guitar work is similar (obviously), Phish is a quartet whereas the Trey Anastasio Band consists of a three piece horn section, a bass player, drummer, keyboardist and Trey on guitar and lead vocals.  Long spacey jams common at Phish shows are replaced with more tightly-knit rhythm and blues arrangements that provide more funk and soul into the music than you'd normally see from Phish. As one of my concert companions put it, if Phish, Galactic and Sly and the Family Stone had a baby, it might sound like this. 

Trey and his band loved playing the Pabst and went to great lengths to praise the venue during their band introductions:

“I want to tell you with all sincerity this is one of my favorite rooms to play. This is from a personal request. I don’t always get involved with the whole tour booking thing... I just kinda go where they tell me, but I did ask to play here because we all love this place. It’s beautiful.”
This is a band who has a blast playing together and the honest energy and enthusiasm they have is clearly transferred from the performers to their audience.

Here are my show highlights:
-The entire first set was the best I've ever seen Trey and his band play.  The song selection was great and the band was tight and having fun.  "Valentine" (off of his most recent 2012 release, Traveler, was a great crowd energizer, along with the beautiful "Drifting" and horn-heavy "Burlap Sack and Pumps."  However, a real surprise was the Ana Tijoux cover "1977" which was sung by Trey's striking trombonist, Natalie Cressman.  The set closed with a spot-on rendition of "First Tube," normally a tune reserved for the second set of Trey's performance.  

-The second set opened up with a bundle of energy with "Corona" flowing into "Night Speaks to a Woman," a classic track from Trey's self-titled solo debut in 2002.  The bluesy new tune, "Sometime After Sunset" played well with Trey's excellent guitar work.  The finish of the set was also stellar with a terrific cover of Gorillaz's "Clint Eastwood," and the classic Trey Anastasio Band tune, "Push On Til the Day."

-The encore featured a brass-infused version of "Sand" from Phish's Farmhouse LP, followed by the Led Zepplin cover "Black Dog" which featured trumpet player Jennifer Hartswick on vocals.

Setlist (from phish.net)

Set 1: Traveler, Valentine, Alive Again, Drifting, Magilla, O-o-h Child, Cayman Review,Burlap Sack and Pumps, Dark and Down, Small Axe, 1977, Money, Love and Change,First Tube

Set 2: Corona, Night Speaks to a Woman, Alaska, Pigtail, Sometime After Sunset, Last Tube, Architect, Gotta Jibboo, Scabbard, Clint Eastwood, Push On 'Til the Day

Encore: Sand, Black Dog

photo courtesy of Gigshots by Stephen Bloch

The Lone Bellow & Fort Frances- Shank Hall, 1/23/14

With a fire going in the Shank Hall fireplace, music fans hunkered down on a bitterly cold Thursday evening for performances by two bright up-and-coming acts: Chicago's Fort Frances and Brooklyn New York's The Lone Bellow.

Aaron Kiser on drums

Fort Frances kicked things off with a 40 minute opening set.  Fort Frances was last in town at Club Garabaldi's this past November in a headlining role for about 50  people. This time, there were at least double that amount of fans who were in attendance when the band took the stage, and more who eventually meandered their way up to the front during the set.  The sound mix in Shank Hall was perfect for this trio, and the drumming provided by Aaron Kiser was spot-on and became the standout performance of the show.  The band's set provided a mix of old and new tunes. Older numbers like "Ghosts of California" and "Cities in Dust" were well-received and played with precision and great energy along side newer tracks like "Habits" and the set closer, "Plastic Heart."  Fort Frances cleverly snuck in cover of DJ Jazzy Jeff and the Fresh Prince's "Summertime" (as an ode to warmer weather and a fulfilled promise for a certain cousin of the band's bass player who also happens to run this blog ).  The "Summertime" cover featured David McMillin with a nice jam on the keyboard.

Jeff Pipes rocks on "Falling Down"

However, the highlight of the evening was a reworking of an older tune, "Falling Down," featuring both
bassist Jeff Piper and drummer Aaron Kiser on solo tom drums, adding a rich layer of percussion which added depth and originality to an already strong track.  Fort Frances was firing on all cylinders and by the set's close had the crowd at Shank Hall thoroughly engaged in their music.  No wonder they and The Lone Bellow recently sold out a 900 seat theater in Chicago together.

David McMillin on guitar/vocals

lead vocalist Zach Williams 

The Lone Bellow's set was a tale in passionate musicians telling passionate stories.  This trio, featuring lead vocalist and songwriter Zach Williams, mandolin player, Kanene Donehey Pipkin and guitarist Brian Elmquist, is known for its masterful harmonies and eloquent vocals.  They were backed by a touring bass player and drummer.  The Lone Bellow's self-titled release last year was a remarkable album of alt-country/Americana tunes.  However, their live show really showcased the spirit of this band.  Tunes like  "Green Eyes and a Heart of Gold," and "Bleeding Out" were packed with glorious harmonies and fast paced riffs.  "You Don't Love Me Like You Used To," featured a soulful vocal by mandolin player Kanene Donehey Pipkin.  The band covered John Prine's "Angel From Montgomery" masterfully as well.  All in all, The Lone Bellow provided a wonderful set of music where the band played Shank Hall with the energy and passion you'd expect if they played Caregie Hall.  This band will undoubtedly be moving up the alt-country/indie rock ranks in 2014.

The beautiful Kanene Donehey Pipkin on vocals

Brian Elmquist on guitar

All photos compliments of Steven Bloom

San Fermin- Turner Hall Ballroom 1/19/14

While the band hails from New York City, it felt like somewhat of a homecoming show when San Fermin took the stage at the Turner Hall Ballroom, as touring lead vocalist Rae Cassidy is originally from Brookfield and guitarist Tyler McDiarmid from Menomonee Falls.  San Fermin is somewhat of a challenging act to describe... fronted by two vocalists, Cassidy and Allen Tate, two virtuoso horn players, a keyboardist (Ellis Ludwig-Leone, who is the songwriter and composer of the seven-piece band), a violinist who sings back-up vocals, and a drummer, San Fermin produces a wide, dramatic and eclectic sound. Some numbers are more rooted in pop, others in jazz, and still others ("Oh Darling" to be specific) have almost a bluesy-lounge sort of vibe, but when put together these accomplished and talented musicians delivered a remarkable performance, and one of the best "Pabst $10 Shows" I've seen in years.

The band is touring in support of their 2013 debut album which dropped in September, and kept their setlist to their album (aside from a Strokes cover for an encore).  While the album is a solid listen from front to back, San Fermin's live performance of the songs surpasses the album for the most part, as you can see how much passion and precision the band has.

It is hard to take your eyes off of Rae Cassidy on stage.  She delivers vocals with a tremendous range and operatic style, not unlike some of Joss Stone's work.  At her side, Allen Tate's deep baritone vocals remind me a lot of a cross between Bill Callahan, and Matt Berringer of the National.  However, with all the different sounds blending around in San Fermin, it often fell to the horn section of John Brandon and Stephen Chen, to glue the whole sound together. After all, with no bass player, it was often up to Chen to keep the beats in line with the drums.   

Highlights of the set included a riveting rendition of "The Count," which had an amazing horn solo that brought the tune together, "Sonsick," the band's biggest hit to date, and set-closer, "Daedalus (What We Have),"  which sounds like it could have been penned by Sufjan Stevens.  San Fermin is an act oozing in talent like a slice of Rocky Rococco's pizza oozes with cheese.  I'm quite curious to see how San Fermin progresses in the future.  Their future is very bright.

Setlist compliments of Piet Levy and TapMilwaukee:

THE SETLIST

1. "Renaissance!"
2. "Crueler Kind"
3. "Casanova"
4. "Sonsick"
5. "Methuselah"
6. "Torero"
7. "The Count"
8. "Bar"
9. "Oh, Darling"
10. "Daedalus (What We Have)"
Encore
11. "Heart in a Cage" (The Strokes cover)

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