Sufjan Stevens- Riverside Theater, 4/24/15

photo courtesy of Gigshots by Stephen Bloch

Breathtakingly beautiful is not a phrase that I think I've ever used in describing a concert until last night's stunning performance by Sufjan Stevens at the sold-out Riverside Theater.  The capacity crowd hung on every note sung and played by Stevens and his exceptional crew of backing musicians, creating a silent and eerily serene environment at the Riverside during the two hour performance.

Sufjan had the audience in the palm of his hands and delivered one of the best performances I've ever had the privilege of seeing.  The often flamboyant Stevens is known for bombastic shows with long tunes backed by orchestral arrangements and a wacky array of props. He and his eleven-piece band played in elaborate winged costumes during their 2006 show at the Pabst Theater.  Then Stevens returned in 2012 to Turner Hall, dubbing himself "Surfjohn Stevens" for a concert titled, "The Seasonal Affective Disorder Yultide Disaster Pageant on Ice." The setlist for this show featured over thirty renditions of holiday songs with some other material peppered in, performing a concert which literally had confetti raining down upon the crowd and a stage set up which would put the most festive home on Candy Cane Lane to shame.  

Last night's performance was nothing like these other two shows.  Yes, it was Sufjan with his same layered arrangements and soft voice, but the performer has never appeared more earnest or exposed as an artist. The result was a concert that held the audience, quite literally, on the edge of their seats, and as quiet and respectful as I've ever seen a crowd in Milwaukee behave for a concert (and that includes going to the symphony!)

photo courtesy of Gigshots by Stephen Bloch

The show consisted of two parts.  The first was Sufjan playing his entire new album Carrie and Lowell, a record that serves as an homage to his mother who passed away of stomach cancer two years ago and his stepfather.  Sufjan played ten of the eleven tracks off of the album straight through without any banter.  Each of the Carrie and Lowell songs was constructed with unique lighting arrangements which set the mood for the track.  Sometimes grainy home videos of Stevens growing up were played behind him.  Other times scenery of the western United States flowed on the monitors as Stevens recalled trips he and his family would take out west when he was young.  The gut wrenching sense of loss and yearning that comes across when listening to Carrie and Lowell resonated ten-fold live.

The second part of the show featured songs that thematically tied into the themes of family, live, loss, and yearning for belonging, many of which came from Stevens 2004 banjo driven spiritual record, Seven Swans. Highlights included, "Sister" and "All the Trees in the Fields Will Clap Their Hands" from Seven Swans, along with "For the Windows in Paradise, For the Fatherless in Ypsilanti" from Michigan.  Each track was played with the utmost precision.  By the time the concert ended, Stevens had brought the crowd to their feet giving the artist a thunderous and deserving standing ovation. This was the least we could do for a man who bore his soul, delivering an evening of majestic music.

photo courtesy of Gigshots by Stephen Bloch

Setlist- Courtesy of Piet Levy, Milwaukee Journal Sentinel

1. "Redford (for Yia-Yia and Pappou)"

2. "Death With Dignity"

3. "Should Have Known Better"

4. "Drawn to the Blood"

5. "All of Me Wants All of You"

6. "Eugene"

7. "John My Beloved"

8. "The Only Thing"

9. "Fourth of July"

10. "No Shade in the Shadow of the Cross"

11. "Carrie & Lowell"

12. "The Owl and the Tanager"

13. "In the Devil's Territory"

14. "For the Widows in Paradise, for the Fatherless in Ypsilanti"

15. "Futile Devices"

16. "Sister"

17. "Blue Bucket of Gold"

Encore

18. "Concerning the UFO sighting near Highland, Illinois"

19. "All the Trees of the Field Will Clap Their Hands"

20. "The Dress Looks Nice on You"

21. "Chicago"

Benjamin Booker- Turner Hall Ballroom, 3/27/15

photo courtesy of Gigshots by Stephen Bloch

Benjamin Booker's laid back nature served him well as he and his trio performed to a strong crowd at Turner Hall.  Booker got on of the best rubs in the music business when he was selected as an opener for Jack White.  When I saw White last summer at the Eagles Ballroom, Booker's set stood out as one of the better support performances I saw last year.

Since his opening gig for Jack White, Booker released a fantastic self-titled record that encompasses aspects of traditional rock, New Orleans blues, and garage rock to create an innovative take on a classic sound.  His Facebook page describes his genre as "Tent City Revival," which is perhaps as good of a descriptor as any.  Booker for a young artist has a lot of musical chops.  For most of his nearly ninety minute set, we saw Booker as we'd expect to see him-- playing loud and rocking out. Up tempo, three cord, hooks engaged the crowd with the set opening, "Always Waiting." Other tracks from his album oozed with raw energy including"Chippewa" and "Wicked Water."

photo courtesy of Gigshots by Stephen Bloch

 On other tracks, Booker and his trio opted to ditch the louder rock sound for a more Americana roots vibe, with drummer Max Norton picking up a mandolin and Alex, Booker's bassist, opting for a fiddle.  These tunes while different than the tracks on the album, were very well received, and were some of my favorites of the evening.  You can tell that Booker is loving what he's doing, as his energy and exuberance radiated throughout the performance.  By the end of the set, Booker and hsi band played a rousing rendition of their single, "Violent Shiver," into the jammed out, "Have You Seen My Son."

Before taking the stage at Turner Hall, Booker and his bandmates performed an in-studio performance at 88.9 Radio Milwaukee.  In his interview Booker came across as a very humble and relaxed performer, especially touring with his first band as an artist who more or less, thanks to White, exploded onto the scene.  There is a good reason why Benjamin Booker's tour is selling out shows all over the country.  Catch this white hot artist when you can still see him in small venues.  I have a feeling there is a lot more to be heard from him as he continues to craft and refine his sound.

photo courtesy of Gigshots by Stephen Bloch

Setlist:
Always Waiting
Chippewa
Old Hearts
Happy Homes
Kids
Falling Down Blues
Slow Coming
Little Liza Jane
Shout Bamalama
Spoon Out My Eyeballs
Wicked Waters
Violent Shiver
Have You See My Son?
By the Evening

The Decemberists- Riverside Theater 3/25/15

photo courtesy of Gigshots by Stephen Bloch

The Decemberists are true pros in the music industry, producing quality music and performing engaging shows for the past decade.  While their days of penning ten minute songs about nautical topics may be behind them, the Portland quintet proved once again at the Riverside Theater why they are one of the best live acts out there today.  If I were to sum up their performance in one word, it would be "fun."

photo courtesy of Gigshots by Stephen Bloch

Colin Meloy has fun on stage and is a master of ensuring that the audience is enjoying themselves as well. Whether that fun come in the form of sharing that "Calamity Song" started as a song to encourage his son Hank to eat his oatmeal, or jamming out with his bandmates on pulsing drums during "The Rake's Song," the act never ceased to amaze and engage the audience.  And what other band could have a full-to-the-gills theater of mostly people in their 30's-40's making their hands into fake jaws while a prop whale invaded the stage during the final encore of "The Mariners Revenge Song?"  If that's not a band having fun, I'm not sure what is? 

Touring in support of their latest LP, What a Terrible World, What a Beautiful World, the Decembetrists focused their set predominately on the newer material, which was very well-received. Meloy and company are now mothers and fathers, and their songs are more reflective in nature these days.  In fact, the crowd was treated to a live debut of "Till The Water is All Long Gone," a tune that featured hypnotic guitar playing by Chris Funk.  Other new tunes that stood out were the anthem sing along, "Make You Better," beautiful set closing "Beginning Song," and lamenting first encore "12-17-12."

photo courtesy of Gigshots by Stephen Bloch

Older tunes brought the crowd to its feet as well.  The Decemberists played a lot of their poppier numbers from past records including "Crane Wife 3," "16 Military Wives," and "Down by the Water."  They did do a longer jam on "The Island," but for the most part the band stuck to their "short of it" material than their longer numbers.

As is typical now of a Decemberists show, the only complaint that I had was that I didn't get to hear all the songs I wanted to hear, and that's because their catalog is just so good.  I guess that's what happens when a band continues to grow and have fun together... you just keep coming back and wanting more. 

Set list:
The Singer Addresses His Audience
Calvary Captain
Down By the Water
Calamity Song
Till the Water's All Long Gone
The Wrong Year
Make You Better
The Crane Wife 3
Los Angeles, I'm Yours
Carolina Low
The Wanting Comes in Waves/Repaid
The Rake's Song
16 Military Wives
A Beginning Song

Encore:
12-17-12
The Mariner's Revenge Song

The Whale!

Samantha Fish- Cedarburg Cultural Center, 3/21/15

article originally published by Ozaukee Magazine

Google “Samantha Fish,” and you will find a plethora of praise for this Kansas City bombshell who rocked the Cedarburg Cultural Center this past Saturday.

The near-capacity crowd in attendance was treated to a two-set performance that showcased many variations of Fish’s two main musical tools—her powerful alto vocals and her masterful guitar work.  Fish played the latest installment of the CCC’s “Blues in the ‘Burgh” series.  While Fish certainly knows the blues, classifying her simply as a blues player is like limiting cheese to only being paired with macaroni.  Granted, you have an instance success, but have not begun to encounter the endless possibilities that exist beyond that.  Fish’s interpretation of the blues, country rock, roots and Americana music showcased the versatility of this white-hot artist.

Fish has the look and musical chops to go far in the industry, and in many ways reminds me of an artist she lists as a childhood idol, Sheryl Crow.  The crowd at the CCC saw and appreciated this, frequently rising to their feet with roaring applause after guitar solos and tunes.

For her sets, Fish alternated between three guitars, each of which greatly shaped the timbres of her music.  Her primary guitar is a custom made Delaney “Fish-0-Caster”which features a sound hole in the shape of a fish.  Set one opener, “Down in the Swamp” showcased the rich tonal quality of this guitar, as her solos took the listener down into the weeds.

In addition, Fish played an acoustic guitar on some of the softer numbers, and a very unique instrument, a Stogie Box blues guitar which she uses as her primary instrument for slide guitar tracks.  Fish’s slide work in many ways reminded me of a young Derek Trucks.  Fish masterfully put her own take on the classic RL Burnside Track, “Shake ‘Em On Down,” and the thick, muddy sound of the Stogie Box brought this tune to life.

Fish played original numbers alongside a wide array of covers.  Of her original pieces, “Foolin’ Me” off of her latest record, Black Wind Howlin’ might be one of her finest tracks, as it combines all of the genres Fish plays in to create a laid back rock track with an infectious guitar groove.  “Runaway,” another original that closed the first set, was a stand-out track as well with its fast paced tempo and swing rhythm.

Another highlight of the evening was Fish covering Screamin’ Jay Hawkins’s “I Put a Spell on You,” which showcased her vocal range and passion.  Fish saved a great surprise for her encore where she slayed a cover of Black Sabbath’s “War Pigs,” a song that is usually reserved as a cover for hard-rock or metal leaning acts (like Faith No More, for example who covered the song on their 1989 The Real Thing LP).  However, Fish nailed this track through her deep vocal range and passionate delivery.

While Fish was clearly the star of the night, her drummer Go-Go Ray, and bass player deserve a lot of props for gluing the numbers together.

As always, the Cedarburg Cultural Center gets a lot of props for booking adventurous acts like Fish who are clearly on the rise, and the wonderful hospitality of the staff at the venue makes always going to the CCC a fun time.

Follow her online here.

Words by Music Column writer, teacher, father, and all around good guy – Will Piper.

TV on the Radio- Pabst Theater 3/24/15

photo by Sara Bill Photography

Brooklyn-based eclectic rock outfit, TV on the Radio, made a triumphant return to the Pabst Theater for their first show in Milwaukee since 2011.  This time they were touring on behalf of their strong 2014 release Seeds. The band was greeted by one of the most packed houses I've ever seen at the Pabst Theater, and the capacity crowd had much to cheer about over the band's hour and fifteen minute set and encore.  TV on the Radio is about as intense a live act as you're likely to find, with musicians pouring their soul into their tunes whether old or new.

As a fan who has followed TV on the Radio since its early days, it is interesting to see how the band as progressed musically.  While the group started off in its very early inception as a duo of Tunde Adebimpe and David Andrew Sitek performing tunes with mainly electronic instrumentation, the modern incarnation of TV on the Radio is a well-oiled touring sextet.  The artists in the band, most of whom have been with group since the early 2000's, are mature, masterful performers who use their craftsmanship to create new layers of timbres in older tunes as evidenced by the set opener, "Young Liars," a track that dates back to the band's inception in 2001-2002.  Likewise, the popular "Golden Age" off of 2008's critically acclaimed, Dear Science was performed with as much zeal and passion as if it were released just last week.

photo by Sara Bill Photography

This level of professionalism is noteworthy for TV on the Radio, who have transcended the level of  a"buzz band" to become a stalwart, strong, and bold ambassador of the modern rock scene-- with a continued willingness to push and challenge  their sound further.

For this reason, the highlights of the set were not necessarily the older tunes that fans were familiar with, but rather some of the newer material from Seeds.    The crowd on all floors of the Pabst rose to their feet to shout out the refrain of the 2014 track "Happy Idiot,"  Other newer numbers like "Trouble," and "Careful You" were also well-received.

The polished act upped their game with riveting performances of "Wolf Like Me," a standout track from 2006's Return to Cookie Mountain, and the final encore, "Staring at the Sun" off of the Desperate Youth, Blood Thirsty Babes album from 2004.

Also worth noting in this performance is the seventh member of the band-- the lighting director.  In one of the most visually engaging performances I've seen in some time, each track was choreographed with corresponding lights to add a rich visual texture to the songs.  The only complaint that I had with this show was that they could have played longer, with a resume as deep as theirs.  With that said, I hope it isn't another 4 years before TV on the Radio return to Milwaukee.

Opening for TV on the Radio was Nostalghia, an art-house, electro, avant-garde act, consisting of perplexing vocalist Ciscandra Nostalghia (who made Alanis Morisette's hair in the mid 90's look short), a drummer and a electric cellist.  They played to a polite and receptive crowd.  Their brooding dark music reminded me of a cross between The Faint and Siouxsie and the Banshees, without the catchy melodies.

photo by Sara Bill Photography

Other notes:

• TV on the Radio lead vocalist, Tunde Adepimpe strikes an eerie resemblance to the self-proclaimed Milwaukee Sports Legend, "Freeway," especially with the glasses, although Tunde is way more put together than the sports legend
• 
• Guitarist David Andrew Sitek has moved away from a straight guitar rig which he played in 2011 and now plays in front of a bonafide "rhythm lab" of sorts with a plethora of digital tools at his disposal.
• Speaking of "rhythm lab," in a brief bit of crowd banter before the encore, Tunde Adepimpe gave a shout out to 88.9 Radio Milwaukee and DJ Tarik Moody for a great interview that they did earlier at the station, stating it was a highlight of the tour.

photo by Pabst/Riverside/Turner Hall

Nikki Lane, Johnny Fritz, Hugh Bob and the Hustle- Cactus Club 2/13/15

photo courtesy of Gigshots by Stephen Bloch

You know a show was really special when almost a month after the fact, you still recall it like it was last night.  Lane is a white hot self-described, "outlaw country" singer out of Nashville who performed to race reviews last year at the Appleton Mile of Music festival, and performed on a chilly February night to a shoulder-to-shoulder capacity crowd at the Cactus Club.  While not touring, Lane runs a vintage clothing shop in Nashville, and this almost epitomizes her style with one foot in traditional country and the other taking a very contemporary approach to songwriting.  Lane is a storyteller and her songs run the gamet of love, lust, and travel.  Her back up band was both loose and precise at the same time, allowing Lane to perform a nearly 90 minute set without a set list.  Most of her material came from her latest album, 2014's Dan Auerbach produced  All or Nothing, and 2011's Walk of Shame.  Opening act and local star, Hugh Masterson took Auerbach's place sharing vocals on "Love's on Fire,"  The set also contained several well-placed covers including a rousing version of Bob Dylan's "You Ain't Going Nowhere" to close the concert.  Lane's personable nature was evident as she gladly posed for pictures with fans and even shared a cookie with buddy.  This is a star on the rise and I can't wait to check her out again opening for Jenny Lewis later this spring,

Opening for Nikki Lane were two unique acts, Jonny Fritz Hugh Bob and the Hustle.  Fritz is a unique act in that his songs, while often sounding similar, have an aura of comedy about them, often taking cues from mundane human living and penning them into ditties.  He reminded me a lot of the act The Bottle Rockets, who had a similar sense of humor in their compositions.  Fritz was a solid entertainer, and he engaged the crowd with songs like, "Shaved Like a Razor," "Chevy Beretta," and  "Trash Day."

The first act of the night was arguably the most popular with the Cactus Club crowd.  Hugh Masterson reunited with his former band, "The Hustle," as a surprise, for a riveting set of country-rock, with tracks like "North Country," "This Bar is a Prison," and "Milwaukee Man."  Hugh's vocals and band were spot on and we learned that he is now renting his apartment from Nikki Lane.  Not a bad gig if you ask me.

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Nikki Lane shares a Valentine's Day cookie with Stephen Bloch

Hugh Bob duets with Nikki Lane; photo courtesy of Gigshots by Stephen Bloch

  

Bahamas with David McMillin- Shank Hall, January 28, 2015

photo courtesy of Steven Bloom

Bahamas is the stage name for Canadian singer-songwriter, Afie Jurvanen who has quickly become one of the fastest growing and most buzzed about acts on the scene today.  Simply put, Bahamas makes fun, lively music. Granted, it's not necessarily music that is going to redefine the indie-folk sound, but it's playful, enjoyable music that can brighten your spirits on a chilly January evening or serve as a solid part of a summer soundtrack.  Many comparisons have been made between Afie Jurvanen and his Brushfire Records label mate, Jack Johnson, and for good reason.  Both artists can pen personal tunes with a light touch. 

The distinguishing feature that sets Bahamas' music apart from other acts is Afie's self-taught, somewhat unconventional and loosely jammy guitar style.  His live show certainly showcased this style of playing well, and made the songs take on a vibrant life different than hearing them on the records.   Afie's vocal delivery is smooth, and his solid range is seen in many of his tracks. 

Often harmonizing with his female bass player and guitarist, Afie delivered a straight forward, and most importantly fun stage set for an hour and fifteen minutes which had the near capacity crowd singing along, swaying and having enjoying life for a while.  Not surprisingly, a good chunk of the set came from 2014's critically acclaimed, Bahamas is Afie record, which found Afie Jurvanen composing some of his more personal and reflective songs to date.  Highlights included, the whimsical, "Bitter Memories," the sway-worthy "Waves," and the energetic, "Little Record Girl."

Opening for Bahamas was David McMillin, the singer/guitarist/pianst from the Chicago-based quartet, Fort Frances.  Like Afie Jurvanen, McMillin is an extremely engaging performer who pulls in the crowd with his honest, narrative song-writing, which is trademarked by vivid similes and memorable imagery.  McMillin started his set with just a handful of folks standing by the stage, and the by the end of his set had the majority of the crowd packed up front to take part in this intimate set.  McMillin's set featured a lot of his own material, including: "Heartsteady," "These Days," "I Will Leave the Rest Behind," and his latest track, "Dreaming Backwards,"  McMillin also played a smattering of tracks recently recorded in Maine as part of the next Fort Frances record.  Based on the warm reaction from the crowd, which included a young woman asking McMillin after his set to sign her jacket, I think it's safe say many of the folks who came to see Bahamas would love to hear more of David McMillin as well.

photo courtesy of Steven Bloom