You always end up in the city

Given all of my travels lately, I’ve been neglecting local shows. I did my best to remedy that situation early this week: hitting three shows in three nights; Monday through Wednesday.



First up was the New Pornographers with Okkervil River. Though Okkervil River opening was a great bonus, I bought the ticket because I love the New Pornographers. It was a little surprising to me, then, that I wound up enjoying Okkervil’s set more than the NP’s on Monday. Not that the New Pornographers played a bad show. I enjoyed it, and “Myriad Harbour” with Will Sheff performing Dan’s parts was completely awesome. It's just that aside from the Okkervil River guest appearances, nothing distinguished this performance for me from any other. The high stage at the Orpheum – about which I’ve never seen a performer fail to comment – isn’t the most conducive to audience interaction. That didn’t seem to bother Okkervil River, though. They played a terrific set, and Will made a definite effort to connect with the crowd.



Tuesday was my first of two Colin Meloy shows, at the Pabst in Milwaukee. The presale treated me well, and I found myself seated in the first row of the pit. Unfortunately, at the Pabst, the front row is a bit too close. Not too close in an “oh, poor me so close to the performer in the front row!” kind of way, but too close in a “my knees are in danger of bumping the stage, and half an hour into the show my neck will start to hurt” kind of way. Nevertheless, it was a fun perspective for a nice night of acoustic songs from Colin. The crowd at the Pabst was a bit more subdued than I was expecting given the usual tone of a Decemberists show, but the Pabst does have a way of hushing people. Discovering Colin’s tour EP of Sam Cooke covers was a nice surprise for me. He’s done a cover EP for each of his solo tours, but for some reason this one totally escaped my notice until I saw it at the merch table. Seeing him duet with opener Laura Gibson on “Cupid” was a lot of fun. Speaking of Laura Gibson, her voice was a great fit with the quiet theatre.



Wednesday was Colin Meloy and Laura Gibson, again, at the Barrymore. It occurred to me before the show that it was the first time I’d ever attended multiple Decemberists or Colin Meloy shows on the same tour, let alone on back to back nights. I was pleasantly surprised by the setlists: Colin only repeated six songs over the two shows. One of those, “Red Right Ankle,” was a request on Wednesday night – so it’s possible a different song was planned in its place. “Red Right Ankle” is always welcome, but I would have loved to hear “Grace Cathedral Hill.” Something tells me the Bay Area may get that next week, when I’m working night shifts mere miles away. Other highlights for me included “Engine Driver” at the Barrymore, and various amusing psychedelic song intros in Milwaukee. I also enjoyed previewing three new songs, which the Decemberists may or may not record. Presumably Colin will learn all the words before that happens.

All the old showstoppers

When I heard that the New Pornographers would be coming to Milwaukee in support of their most recent album, Challengers, I knew I'd have to make the trip. Unlike the first two times I saw them, this tour would include Neko Case. I had previously determined that Neko's presence wasn't necessary for a great New Pornographers show, but it was still a goal of mine to see her perform with the band.

Wednesday night at the Pabst I attained that goal. The show included two openers, a concert paradigm I think I may be too old to appreciate. Especially for a GA show. I enjoyed both bands, though - Benjy Ferree was entertaining for half an hour, if a little goofy; and listening to Emma Pollack (and her Scottish accent) was quite a treat. The main act finally took the stage around 10:00 p.m. I resisted the temptation to look at the setlist beforehand, though everyone around me was peering at it. They were excited, which I took as a good sign.

The band opened with "Heaven and Earth" from Challengers, and followed that up with an energetic "Use It." They played almost all of Challengers over the course of the show, and included a very nice peppering of songs from their other releases. The first set's finale was "Bleeding Heart Show," which was as superb as I remember it from Madison.


Finally seeing Neko with the NP's was great, as expected. She sings backup vocals on nearly every song, not to mention the songs where she takes the lead. Kathryn Calder still provides excellent vocals in her turn, but Neko was a big part of this show. There wasn't a whole lot of banter between the band members onstage, which I missed a little bit - but I got the sense they were concentrating on providing the maximum amount of pop awesomeness in their allotted time. Carl did take some time to say that on their last go-round, Milwaukee was the best crowd of the tour - while the worst crowd was in Minneapolis. This prompted both cheers and boos from the crowd, though I think both were in the anti-Minneapolis spirit. Ah, rivalry between proximate Midwestern cities.

The real revelation for me on Wednesday, however, was Dan Bejar. Dan is another member of the New Pornographers who doesn't always tour with the band. I knew he was on board for this leg, and was pleased about it, but most of my anticipation was focused on Neko's presence. As it turned out, though, Dan's songs made the show for me. I've always been a fan of his unique songs and vocals, and was glad that Carl took over vocal duties so that band could perform a couple of them at the shows I saw last year. But actually having Dan (or, as Neko misheard from the crowd and joked about keeping as a nickname, "Dangelina") up there singing his own songs was really great. He certainly didn't say much, wandering on and off stage with a glass of wine in hand, but somehow that added to the charm. "Myriad Harbor" is one of my favorite songs on Challengers, and was a highlight of the show for me.


During the show it was pouring spectacularly outside. One might think it wouldn't be obvious that this was happening inside the theater, but between Emma Pollack and the New Pornographers we noticed something interesting. Either the lights were dripping a light mist of water onto the stage ... or the roof was leaking. This was somewhat alarming, and inspired Blaine to scoot his keyboard and laptop further forward to escape the shower, but didn't really seem to affect the show. At some point it must have stopped, and I was able to get from Milwaukee to my Madison exit before the downpour began again. Thanks, weather.

Setlist: (I think maybe they didn't play "From Blown Speakers" though? And maybe they played "Failsafe?" Wow, my memory is horrible.)

More photos here.

The chiming of a perfect chord

Friday night Paul and I headed to Milwaukee to see Crowded House at the Pabst Theatre. I never thought I'd have the chance to see Crowded House live, so finding out they were coming to the Pabst was especially exciting for me. The Pabst continues to be my favorite theater in Milwaukee and one of my favorites in general - the Crowded House show was the latest affirmation that I shouldn't be curtailing my visits anytime soon.

The evening opened with Liam Finn playing four or five songs by himself. He seemed very much at ease on stage, bantering easily and joking with the crowd between (and occasionally during) songs. I suppose this impressed me because many openers I see are still a little awkward with the whole "audience interaction" thing. Then again, Liam does play live with Crowded House these days, and I'm sure he's learned a thing or two from his dad. More to the point, I enjoyed his songs. Each began with him singing and playing the guitar, which was nice if not extremely remarkable. But then he would start in with looping extra vocals and guitar parts, and usually wound up on the drums. I couldn't help thinking of Jon Brion, as I do now whenever I see a musician employ similar strategies. Liam's approach was somewhat opposite of what Jon tends to do in building a song, though, in terms of the progression of instruments and vocals.

The main opener (and the only ones who had been billed in the opening slot for this show) was a band called 16 Frames. I really did not like 16 Frames. Every song they played reminded me of a middle-of-the-road power ballad. Maybe that's partly because the lead singer sounded like an amalgam of Jon Bon Jovi, Bret Michaels, and John Mellancamp. When he had a guitar in his hands (roughly half the songs) I was simply bored. On the songs when he put aside the guitar in favor of unadulterated lead singer mode, I was utterly distracted by the spectacle. This was a reserved show at a small theater where half the audience up front wasn't yet seated, and this guy was up on stage trying to be Bono at Wembley Stadium. From the hunched posture to the calculated leaps to the "pleading hand toward the audience" from the tip of the stage, he cycled through all the moves in an unrelenting loop. After their set Paul remarked that he'd have rather seen the Sweet Tarts yet again, and I have to confess that I agreed.

After another short break it was finally time for Crowded House. They opened with "Recurring Dream," which I'm slightly ashamed to admit I didn't recognize ... despite owning Recurring Dream. (Which it's not actually on.) My Crowded House fandom has really been more of a Neil Finn fandom, including a decent smattering of Crowded House material, the first Finn Brothers album, and Neil's second solo album. Luckily I'd been listening to a lot of Time on Earth over the past week or two, so that combined with the rest of my patchy but enthusiastic Crowded House knowledge meant that I was familiar with all but a handful of the night's songs. For the first time at the Pabst I noticed a few issues with the sound early on, but later in the show things seemed better. I'm not sure if the sound actually improved or if I just stopped noticing.

Though I'd never seen Crowded House before, I did see the Finn Brothers once at the Vic back in 2004. I was impressed that night with Neil's demeanor and playfulness onstage, and that was true again on Friday. I was also pleased to see that sense of fun extended to the whole band. There were many jokes and amusing asides, and a couple of improvised jams - in one case an entire "Meatloaf" song - that were unexpected but very entertaining. It also appears that everything the band knows about Milwaukee - this was mentioned first by Liam, and later by both Neil and Nick - is largely based on Wayne's World. They were tickled that Alice Cooper was playing soon at the Riverside. (Paul and I were probably more amused than we should have been by all of this, since we'd been making "Mil-e-wah-kay" and "Algonquin for 'the good land'" cracks all day long.)


I posted the setlist in my previous entry, but my favorite songs of the show were definitely the songs from Together Alone. When I was just a wee budding Crowded House fan, Heidi sent me a cassette copy of Together Alone. My (then brand new) car had both a CD player and a tape deck, but as that was the only tape I owned, it took up residency there. I listened to it all the time between CDs, and though I subsequently branched out a bit, it remains my favorite CH album. I hadn't listened to the album itself in a long time, but this show brought back just how much I enjoy it. Maybe more than I'd realized before. I was unprepared for the intense rocking out of "Private Universe" in the live setting.

Much like another lead singer with whom I'm familiar, Neil played two songs sans PA from the tip of the stage. He requested communal singalongs for both of them, hearkening back to the days "before electricity." "Four Seasons in One Day" sounded really nice with everybody's voices joining in, and the night's closer of "Better Be Home Soon" ended as an unplugged singalong. I hope they're ending all of their shows with that or something similar, because I couldn't think of a much better finale for the night. I don't have any burning desire to see another Crowded House show, at least for awhile - but this one was everything I'd hoped it would be.

A whole lot more I'm thinking of

More on last night's Crowded House show at the Pabst will follow - but for now here's a photo and the setlist. (A combined effort by Paul and me this time.)



Crowded House
8/17/07
Pabst Theatre, Milwaukee, WI
Support: Liam Finn, 16 Frames

Recurring Dream
World Where You Live
Say That Again
She Called Up
(Till It’s Over jam?)
band intros>Don’t Stop Now
There Goes God
Fingers Of Love
Don’t Dream It’s Over
Silent House
Transit Lounge
("Spellbound" jam?)
Pour Le Monde
(improv 'Meatloaf' song-“I’ve wandered lightly as a cloud, but I won’t go in there.)
Distant Sun
When You Come
Locked Out

E1:
Weather With You
Four Seasons In One Day (started without PA system; crowd singalong)
Something So Strong

E2:
Private Universe
Better Be Home Soon (finished without PA system; crowd singalong)

Play our songs, and nothing's wrong

Monday night, Jeff Tweedy at the Pabst Theater in Milwaukee, opening set by the Autumn Defense, front row center seats, fantastic setlist and performance.

That was the newspaper version, if you only have time to read a blurb. So, yes, Monday night I headed to Milwaukee with Anya after work to see Jeff Tweedy. In my short period of reacquaintance with the Pabst it has already become one of my favorite places to see a show, so I was pumped. We got in about ten minutes before the Autumn Defense's opening set and went straight to our seats (after buying drinks) which is probably why I failed to notice the special autographed posters that were for sale. Ah well. I'm the last person who needs more concert posters at this point, but I still feel a little bit like I fell down on the job.

The Autumn Defense sounded very nice playing acoustically. They commented on how nice the Pabst is, like everyone I've seen play there thus far. Their set was relatively brief. One particular line of one of their new songs still makes me cringe a little, but the harmonies were lovely, and there was a giant Steinway piano onstage. Pat was definitely happy to be playing that on a few songs, including one of my favorites, "Written in the Snow".

There was a break just long enough for Anya to make a "whiskey and soda" trip to the bar, and then Jeff took the stage. Since this was the second night of a sort of two-night ultra-mini solo tour ... after a weekend off ... I had no idea what to expect. But whatever I expected, Jeff surpassed those expectations. First of all, he was in fine banter form, joking with the crowd. The well-meaning inquiry of a fan led to the coining of a new catchphrase to replace "How ya doin?" ("How's your foot?") Jeff joked about his crouching tiger-like defense skills, put a particularly loud "WOOOHOOOO"er in his place ("that makes me feel really good in a lot of ways? But it also makes me want to hurt you"), had fun with a couple of particularly vocal women up front, and discussed Halloween costumes (Jeff and Susan decided against being Amish this year).

And oh yeah. He played some songs. Some songs I'd never heard before ("Lullaby for Rafters and Beams," a new song), some songs I will never get tired of hearing ("Someday Soon", "Laminated Cat"), some delightfully rare tunes ("Box Full of Letters," "Screen Door," "We've Been Had,") and at least one song that, had I been standing up, may have caused me to fall over in shock. I honestly thought Jeff was gearing up to play "The Thanks I Get." And then he opened his mouth and began, "There's a dreamer in my dreams..." and I probably made some sort of high-pitched squeaking noise. Wow.

Other highlights included an incredibly moving rendition of "Sunken Treasure", a relatively unusual solo "Jesus, Etc.", and some unexpected piano accompaniment to "I Am Trying to Break Your Heart". The Steinway was wheeled offstage after the Autumn Defense's set, but if obviously didn't go far. At some point in the song Jeff stopped playing his guitar, and a few notes of piano rang out from behind the curtain before they stopped as well. Jeff joked about the place being haunted, but the ghost, appearing at the side of the stage a few moments later, looked a whole lot like Pat.

So. A really fun show. Very glad I went. And I may start a petition to bring every musician and band I like to the Pabst.

In the Milwaukee streets

I saw Rilo Kiley in an opening slot last year at Alpine Valley. I remember liking Jenny Lewis's shoes, but beyond that I was not too impressed. When I first heard Rabbit Fur Coat, however, I was most definitely impressed. When Jenny and the Watson Twins came around my neck of the woods, I was eager to give her another try. I was not disappointed.

Tuesday was another fine evening at the Pabst. Anya and I grabbed dinner across the street before the show (well, she ate dinner while I hid the sandwich I'd brought from our cafeteria, and then scarfed it down when we left. Poor planning.) We wound up right in front, sitting for the two openers and then moving to the pit for Jenny. Best of both worlds.

Michael Runion was first up. Just him and his guitar, and the little book that he kept consulting because for some reason he hadn't written out a setlist. Although he seemed a bit like a musical version of Jared Miller - going off on tangents, explaining inconsequential things in minute detail, asking random people offstage how much time he had left, taking off his coat because the buttons were tapping on the guitar - I think it was really just his schtick. His set was fine. Next came Vietnam. An extraordinarily hairy band playing long songs. I wasn't much of a Vietnam fan, I'm afraid.

And finally, Jenny Lewis and the Watson Twins. I loved their set. Seeing Jenny up close, I was struck by how tiny and adorable and awesome she is. The upbeat songs were great (there was even a costume change!), and I enjoyed all of the new songs they played. I may have liked "Fernando" best. My favorite song of the night, though, was "Born Secular". I like it on the album, but it was something ... more ... live. Jenny's singing was perfect, and the arrangement was perfect - the band members leaving the stage one after another, until only the drummer was left to complete his frenzied solo. I look forward to attending another Jenny Lewis show when she has even more material to showcase.

(Photos by CJ Foeckler. More are in the Pabst gallery.)

A night at the Pabst

When I was in first grade, our elementary school principal, Mr. Fountain, grew a beard. He then announced a school fundraiser - for a penny minimum, each student could vote as many times as desired for or against Mr. Fountain keeping the beard. The side with the most cash at the end of the fundraiser was victorious, and the students voted overwhelmingly for Mr. Fountain to lose the facial hair. The following week, Mr. Fountain sat on the stage in the multipurpose room (which was also both our cafeteria and auditorium) and publicly shaved one half of his beard during first lunch period, and the other half during second lunch period. It was a huge hit.

The last time I visited the Pabst Theater in Milwaukee, I was probably on a school field trip. Saturday night I was there again, but for a slightly different reason - to see Glenn Kotche and Nels Cline, "alone and together". I met Paul and Sam in time for a quick bite across the street at the Newsroom before sauntering into the theater and grabbing some front row seats on the left. It was a row of three - perfect.

Nels was up first, whisk tucked in a back pocket for easy access, and masterfully manipulated his guitar, pedals, and knobs into a swirl of sound for 45 minutes. I don't know how he does it. After a short break came Glenn, and I was amused and horrified to see that the fledgling mustache he'd been sporting a few weeks ago was still intact and looking more lustrous than ever. (Which isn't saying much, but you could actually see it from the crowd now.) He'd grown it partly to surprise his wife, but I wasn't sure why he still had it. Mustache or no, his set was tight and intense as always. Besides the songs he played opening for Jeff back in late winter, he also added On Fillmore's "Taisho" as a closer, which was rather delightful.

For the last set, Nels and Glenn came back onstage together. Nels announced that they would be playing a suite for us - "Karen Koltrane" by Sonic Youth, then some mysterious other stuff in the middle, winding up with a song of Nels' to close - the title of which escapes me, though it was familiar (and super awesome). Something about a heart.

After "Karen Koltrane," Nels settled into an abstract guitar riff while Glenn got up. He grabbed a red chair and a bag, set the chair next to Nels, and sat down. First he pulled out of the bag a couple of finger bells, which he placed on each hand. He then pulled out a bottle of water and two red plastic cups, which he placed on the stage side by side and filled. We were enormously intrigued. Was he going to somehow accompany Nels playing cups of water?

Glenn pulled out something else that was blocked slightly by Nels' monitor, and dipped it into one cup of water. He then whipped out a small round mirror, and (the crowd was starting to rumble with laughter) in an instant I understood. Holding up the mirror, Glenn used his shaving brush to lather his face up with shaving cream. And then he shaved. His mustache. Onstage at the historic Pabst Theater. While Nels Cline laid down a shaving groove on the guitar. And while Glenn himself chimed in on bells. It was one of the most surreal things I've ever witnessed during a concert. Also one of the most hilarious.

Cleanly shaven again at last, Glenn neatly rinsed off his brush, packed away his gear, and went back to the drum kit, where he proceeded to go to town for the end of ... "Shaving Jam #1" or whatever it was ... and then they finished up in awesome fashion with Nels' song.

And that, my friends, is a great way to spend a Saturday night. You know, come to think of it, I don't know that Nels doesn't always accompany Glenn on guitar as he shaves.