And when you believed, they call it rock and roll

On Saturday we slept in as long as we could. We took advantage of Evonne's hospitality to loiter over fresh fruit and showers, eventually mobilizing for an excellent late brunch at Millie's. From there it was on to Intelligentsia for a coffee boost before hitting the road for north San Diego.

Why were we headed to Solana Beach? Well, Britt Daniel had announced an early show at the Belly Up Tavern just days before. So why wouldn't we be headed to Solana Beach? (I so love that I have an entire group of friends who share this attitude.)

I saw Britt Daniel sit in for a few songs with Jon Brion on New Years Eve in Chicago. Aside from that, I hadn't seen him since my first and only Spoon show: at the tiny Annex in Madison back in 2003. We made good time down Interstate 5, reaching Solana Beach in time for some pre-show gelato in the late afternoon sun. Upon entering the Belly Up Tavern, I was immediately struck by how much I liked the space. It reminded me a bit of the High Noon Saloon; the type of place you'd be glad to have in your city. Anya Marina (yes, there was even an opener for the early show) was just beginning, and we caught most of her set. Britt followed in short order, playing many of the songs I know best from the three latest albums, I was happy to note, as well as some new songs. He was good natured and friendly onstage throughout, and dealt well with some rather obnoxious and intoxicated fans. I got the impression he was used to it. Last time I saw Spoon, their most recent album was Kill the Moonlight, so there were many songs I'd never heard live. Of those, the one that really blew me away was "The Beast and Dragon Adored." I'm a fan of the song to begin with, but I absolutely loved the version Britt played on Saturday.

Britt finished up right at 8:00. Time for dinner and drinks and hanging out at the beach while the last of the daylight faded? Perhaps you know us too well by now to be fooled by that idea. No. Time to get in the car and motor back up to Los Angeles for the last Saturday night show at Largo on Fairfax: Paul F. Tompkins!

Traffic was not a problem, and we were parking at Melrose and Fairfax by 10:00. The show had begun, and we could see from the sign on the door that it was sold out. A quick look around when we stepped inside confirmed that Largo was packed to the gills. By the grace of God, Mike, and Flanny, however, we were admitted and seated in one of the only free areas: the floor directly in front of the stage. That was something.

The show itself was something, too. Paul F. Tompkins was hilarious, and brought up a number of special guests in traditional Largo style. Among them were many familiar faces from the night before: Fiona Apple, Sara and Sean Watkins, Benmont Tench, and Jon Brion to name a few. There was music, including a song Fiona had written about Largo. (My favorite line: "When Mr. Tench is on the bench, I want to be the piano.") Paul F. Tompkins talked a lot about Largo on Fairfax again, but he also talked about how great Largo at the Coronet will be. (Summer gelato in the courtyard has been promised by Flanny.) The mood was decidedly more upbeat on Saturday than it had been on Friday. As PFT said, "Last night was the wake. Tonight is like the baby shower!" The musical collective also played a rousing cover of "Nightclub" by the Old 97's. I enjoyed that very much.

And so, my true last night at Largo on Fairfax came to a close. Paul has mentioned a similar sentiment, but I feel blessed to have had the chance to become even a tiny part of that universe; as a repeat spectator, if nothing else. Such a wonderful community has grown up around Flanagan's place, and I hope - and believe - that the same spirit will carry over to Largo at the Coronet.



Also check out:
A review of Friday night's show from Variety
Fiona's Largo song on Youtube

It's all around you

Nine days in California went by far too quickly. For the most part they were a blur of activity. I did far too many things to do them justice in a single entry, in fact. I'll break this up, then, into two parts. This one is Saturday through Friday; the next one will be the following Saturday. We had a very busy Saturday. Uyen does detailed and reader-friendly show accounts way better than I could ever hope to, so I don't need to worry about the chronicling aspect. That frees me up, then, to ramble at my leisure.

The night I arrived, 4/26, was Jon Brion's last official show at Largo on Fairfax. I joined Paul, Evonne, U, and Heidi - the latter of whom had seen Jon the night before as well. A special show had been announced for the following Friday, which would be the true final JB date, but Saturday was the last show done in Jon's usual manner. I was thrilled as always to hear "Knock Yourself Out" - probably my favorite Jon song. "This is Where I Belong" seemed to have particular significance that night, too. In fact, everything took on a special significance. My last Largo salad! The last time I'd see Mike tease U by calling her over to her table from across the room! The last time the music would be turned up in small increments to almost painfully high levels before the show began! Come to think of it, they could do that at the Coronet too.

Sunday it was back to San Francisco with Uyen, and then Stephen Malkmus and the Jicks on Sunday night. Seeing Malkmus and the Jicks at the Fillmore was an unexpected treat. I guess I technically saw them open for Radiohead once, but that experience was marred by distraction and late arrival, so I barely remember it. I found them thoroughly entertaining this time. Stephen seemed relaxed and engaging, the songs were excellent, and it was nice to see Janet Weiss on drums. I can also understand why Live Nation wanted to brand the Fillmore and deploy it in multiple markets, but having now visited the original I just hate them for it all the more.

Then, work. Palo Alto is very pretty - what I saw of it, anyway. I still swoon a little when I see lots of palm trees, no matter how many times I visit California. I was originally supposed to fly home on Thursday morning. The last-minute confirmation of Jon Brion's final final show on Fairfax for Friday, however, wouldn't stop gnawing at the back of my mind. Far from satisfying me, being back in the Largo world just made me more eager to go again while I still could. I was already in California, after all! Luckily the planning worked out, I took an extra work shift, and found myself at Largo once more for its final weekend on Fairfax with Uyen, Paul, and Evonne.

This is the part where I talk about the show, but there's no way I can do it justice. Mike's variation of his usual speech before the doors opened was an indication of things to come: "No cameras, no cell phones, no crying." Two of those rules would be broken before the night was through. And from the time the first person hit the stage, we could tell it would be a hell of a night. Bobb Bruno, in full costume, played a Jon montage. Dave "Gruber" Allen related the hundred-year history of Largo on Fairfax, involving Jon's great uncle Jelly Roll Brion, and the great immigration of the Finnigan family from Ireland. A "supergroup" consisting of Dave, Griffy, "JB" on bass, and Flanny himself on brass entertained us with music and haikus about red Miatas. The camera ban was lifted just long enough to snap some pictures of the aftermath. Flight of the Conchords took the stage and played two hilarious songs. And all that was just the opener.

The rest of the night was a whirlwind of music, comedy, "magic," roast-style Largo stories, and special guests. Through it all, the significance of this particular Friday was never far from the surface. Jon played right through his usual break between sets. Around 1:30, when Sean and Sara Watkins were onstage with Gabe Wicher, Jon instructed them to play a song while he went to the back and watched. They played "Say Darling Say" and were then joined by Benmont and Paul Bryan for two of Jon's songs, "Trouble" and "Same Mistakes," while Jon remained a spectator near the kitchen doors.

When he returned to the stage as the others left, he remarked that in twelve years he'd never gotten a chance to watch one of the Friday night shows. "And it's pretty fucking great!" As he took up his guitar, Jon introduced the next song. "Flanny just suggested I do this one alone, and I had been thinking of doing it too ... so that shows it signifies something." He proceeded to play "Waterloo Sunset;" just Jon and the guitar on the old Largo stage, in the familiar room, dark with its islands of candle light on each little table, silent except for the clinking of glasses and bottles from the staff at the bar. And as I idly glanced down at my watch, I saw with a jolt that it was a little past 2:00 a.m. And I realized, oh fuck, this was really it.

But it wasn't; not quite. As the final note of "Waterloo Sunset" faded away, the applause began. People stood up, the din swelled, and Jon put down his guitar and attempted to collect himself for some final words. I wish I could remember more of what he said, but what I really remember is how he said it. It was a short speech; choked and emotional and sometimes hard to understand through the tears. It was about how much this place meant to everyone. Jon left the stage and headed back through the kitchen doors, and the audience kept up the standing ovation as "Don't Dream It's Over" by Crowded House played over the house speakers. Soon Jon emerged, dragging a stilll-weeping Flanny out from the back, and pushing him toward the stage. They embraced, Flanny picked up a guitar, and Jon sat at the piano, remarking that we would be so pissed at Flanagan after this for never having played it before. A spare, gorgeous "All is Full of Love" followed, with Flanny on vocals. And that was really it.

But it wasn't the last time I'd set foot in Largo on Fairfax. As I said, we had a very busy Saturday.

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.

Tallies for 2007

And now for a tradition that is entering its second year. Here is the list of books I read in 2007, followed by some statistics:

A Tree Grows in Brooklyn - Betty Smith
The Thirteenth Tale - Diane Setterfield
In Cold Blood - Truman Capote
Mountain Man Dance Moves: The McSweeney's Book of Lists - various
Running with Scissors - Augusten Burroughs
For One More Day - Mitch Albom
The Secret History - Donna Tartt
Cage of Stars - Jacquelyn Mitchard
Leaving Mother Lake - Yang Erche Namu & Christine Mathieu
Wisconsin 24/7 - Rick Smolan & David Elliot Cohen
Alternadad - Neal Pollack
Love is a Mix Tape - Rob Sheffield
1001 Ideas for Color and Paint - Emma Callery
Historic Homes of America - Ernest Wood
Bill Bryson's African Diary - Bill Bryson
Ellis Island: Ghosts of Freedom - David Wilkes
On The Wealth of Nations - PJ O'Rourke
I Know Why The Caged Bird Sings - Maya Angelou
The Fortress of Solitude - Jonathan Lethem
Forever in Blue: The Fourth Summer of the Sisterhood - Ann Brashares
Slaughterhouse-Five - Kurt Vonnegut
Not a Genuine Black Man - Brian Copeland
Harry Potter and the Sorcerer's Stone - J.K. Rowling
The Children in Room E4 - Susan Eaton
IV - Chuck Klosterman
Harry Potter and the Chamber of Secrets - J.K. Rowling
Harry Potter and the Prisoner of Azkaban - J.K. Rowling
Harry Potter and the Order of the Phoenix - J.K. Rowling
Divisadero - Michael Ondaatje
Harry Potter and the Half-Blood Prince - J.K. Rowling
The Island of Lost Maps: A True Story of Cartographic Crime - Miles Harvey
Harry Potter and the Deathly Hallows - J.K. Rowling
The Body Artist - Don DeLillo
After the Quake - Haruki Murakami
One Sunday Morning - Amy Ephron
Reading Lolita in Tehran - Azar Nafisi
The Cabin Faced West - Jean Fritz
Confederates in the Attic: Dispatches from the Unfinished Civil War - Tony Horwitz
Disney's Winnie the Pooh: A Celebration of the Silly Old Bear - Christopher Finch
Poster Child: A Memoir - Emily Rapp
Da Vinci's Kitchen: A Secret History of Italian Cuisine - Dave DeWitt
Gravity's Arc: The Story of Gravity, from Aristotle to Einstein and Beyond - David Darling
The Tiger in the Attic - Edith Milton
Becky's Christmas - Tasha Tudor
Still Life with Woodpecker - Tom Robbins
The Curse of Ravenscourt: a Samantha Mystery - Sarah Masters Buckey
Shadows on Society Hill: an Addy Mystery - Evelyn Coleman
The United States of Arugula: How We Became a Gourmet Nation - David Kamp
Midnight in Lonesome Hollow: a Kit Mystery - Kathleen Ernst
Sala's Gift: My Mother's Holocaust Story - Ann Kirschner
A Spy on the Home Front: A Molly Mystery - Alison Hart
Jesus Land - Julia Scheeres
Away - Amy Bloom
Peril at King's Creek: a Felicity Mystery - Elizabeth McDavid Jones
Tests of Time - William H. Gass
Silent to the Bone - E.L. Konigsburg
The Little Friend - Donna Tartt
A Spy on the Home Front: A Molly Mystery - Sarah Masters Buckey
The True and Amazing Adventures of the Hunt Sisters - Elisabeth Robinson
Songs Without Words - Ann Packer
The Tenth Muse: My Life in Food - Judith Jones
Musicophilia: Tales of Music and the Brain - Oliver Sacks
A Little House Christmas Treasury - Laura Ingalls Wilder
Eat, Pray, Love - Elizabeth Gilbert
The Child in Time - Ian McEwan
Snowbound with Betsy - Carolyn Haywood
The Christmases We Used to Know - Reminisce Books
Betsy's Winterhouse - Carolyn Haywood
Betsy and Billy - Carolyn Haywood
Back to School with Betsy - Carolyn Haywood
Betsy's Little Star - Carolyn Haywood
My Year of Meats - Ruth L. Ozeki
The 1927 Sears & Roebuck Catalog
The Stolen Sapphire: A Samantha Mystery - Sarah Masters Buckey
Betsy and the Boys - Carolyn Haywood
Betsy and the Circus - Carolyn Haywood
Betsy's Busy Summer - Carolyn Haywood

Total books read: 77

Nonfiction books: 32 (42%)
Fiction books: 45 (58%)

By female authors: 47 (61%)
By male authors: 27 (35%)
By both: 3 (4%)

Marketed for children/teens: 26 (34%)

Read previously: 16 (21%)

You should definitely read:
The Child in Time by Ian McEwan. It was a book that made me miss my days of studying literature in a classroom setting, because upon finishing I itched to go back and take notes on themes and motifs and things. I started out unsure of how the threads in the story would tie together, but ended up impressed by the way they did.

You also should definitely read I Know Why The Caged Bird Sings by Maya Angelou, but I figure I might have been the last person who hadn't already read it.

You absolutely should not read:
On the off chance you checked out my list of books and thought, "Hey, I should read some of those American Girls mysteries!" ... really, not so much. I mean, they're fine if you're nine years old. If you're not, I'd only recommend them if you need some palate-cleansing fluffy reading material featuring characters you first met when you were nine years old. And even then, the Carolyn Haywood books are a much better use of your time.

Overall, my 2007 reading stats are quite similar to those from 2006. I need to bust out with some crazy trends in 2008! Or, you know, just keep reading what I clearly enjoy reading.

Because I like lists and stats, here are some more for 2007.

Total concerts attended: 46, counting each day of multi-day events (like Hardly Strictly Bluegrass) separately

Seen the most often: Wilco, Andrew Bird, Jon Brion

Performers seen for the first time (headlining): 5 (Scott Amendola Band, Badly Drawn Boy, Joseph Arthur, Arcade Fire, Crowded House)

Performers seen for the first time (support or festival): 15+ (Carrie Rodriguez, Ferraby Lionheart, Jon Rauhouse, My Brightest Diamond, Low, Chris Mills, Blue Mountain, Liam Finn, Richard Swift, Art Brut, Dr. Dog, Buddy Miller, Emmylou Harris, Doc Watson, Kim and Kelley Deal, and many more)

Performers for whom I am a repeat customer: at least 20 (it gets hard to count with festivals)


Foreign countries visited: 1 (Mexico)
Foreign countries visited for the first time: 1 (Mexico)

States visited (for work, fun, or both): 17 (Illinois, Texas, New Mexico, Washington, Iowa, Florida, New Jersey, New York, Massachusetts, New Hampshire, Connecticut, Vermont, California, Colorado, Minnesota, Missouri, Kansas, Nevada)

States visited for the first time: 4 (New Mexico, Massachusetts, Connecticut, Vermont)


Homes purchased: 1

I expect to surpass at least two of those totals in 2008. Though probably not "homes purchased."

I feel fine

Happy New Year! I spent Monday night with Jon Brion and friends (mine and his) at the Harris Theater in Chicago. The show was fun, although the lines at the open bar were such that some of us only managed to get through for drinks once. Apparently other people in the crowd were more successful, judging from the general drunken chatter and embarrassing behavior from many of those around us. Nevertheless, I enjoyed the show. Jon was engaging, and requested multiple crowd singalongs. We were happy to give it our best - "Bohemian Rhapsody" was belted out with gusto, but I think we were most successful with the closer of "God Only Knows." Britt Daniel showing up to play a few songs at the start of the evening was a very nice surprise - unexpected because Spoon was headlining a New Years show of their own at Metro. The Autumn Defense was also on board to play a short opening set, and John and Pat played with Jon on a few songs - including "I Feel Fine" with Britt and a drummer Jon had just met. My favorite portion of the night came later on, when Jon, the Autumn Defense, and yet another drummer from the crowd settled in to play "Cortez the Killer" and a Springsteen song of Jon's devising, both based on crowd requests. We were also treated to some of Jon's own material, of course. Add in festivities at Hotel SnS beforehand (good job stirring the risotto, Paul) and some snow angels afterward, and it was a worthy start to 2008.

Winter wonderland

This week on Tuesday and Wednesday, I marked my fifth year of spending more than 24 hours at Piper's Alley in Chicago for the Letters to Santa Benefit at Second City e.t.c. There's not a lot I can say about the experience that I haven't said in previous years. I saw a bunch of wonderful performers from literally one or two feet away on a tiny stage. I took part in a few onstage dance parties with the cast of comedians, a game of freeze tag, and two field trips out into the snow. I went on numerous coffee/tea runs. I endured the customary five or ten minutes of soul crushing stress during the big live charity auction for a private concert, which luckily ended on a positive note yet again. I ate little cups of Jell-o from my snack bag at 3:00 a.m. while Kim and Kelley Deal interviewed Steve Albini. I watched Sooz knit a fantastic striped scarf for her new stuffed penguin. All, still, for $10. All told, with the auctions (including, for the second straight year, the chance to peg Joe Canale in the balls with a football) over $80,000 was raised in that 24-hour period. I can't wait to hear about the families who are helped this year. We had a solid 24-hour group this year, with Sooz, Paul, Sam, and Leah in for the long haul with me. I hope we can add even more people in 2008. It's fun, you guys! Sure, there are times when you briefly want to die, but you totally bounce back!

Pics:
Janet Bean and Sally Timms

Jeff Tweedy

Joe Canale narrowly avoids a football to the groin

Kelley and Kim Deal interview Steve Albini

The charming and talented Sofia Mia visits before school

Kelly Hogan and Robbie Fulks

The Blisters

Alexander von Humboldt the Irish penguin in the spotlight with TJ and Pete

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.

Hardly Strictly San Francisco

Last weekend I took Friday off and headed to San Francisco for the Hardly Strictly Bluegrass Festival. With an impressive lineup, a pricetag of $0, and a beautiful setting in Golden Gate Park, it was hard to pass up. The fact that I have superbly hospitable friends living on both sides of the park sealed the deal.

Friday was a lovely day at the festival, though it started and ended a bit chilly. Our brigade arrived early to camp out in front of the Banjo Stage and took in acts that included plenty of the "hardly" in Hardly Strictly Bluegrass. Augie March started things off, playing a relatively short (but enjoyable) set. They were followed by Buddy Miller and his band. I was pleased to see Buddy's cover of "Rock Salt and Nails" in person. T-Bone Burnett and friends came next, with an eclectic mix of friends indeed - Doyle Bramhall II, with whom I was not familiar; Neko Case, with whom I am quite familiar; and John Mellencamp, who is ... John Mellencamp. They ended the set with an all-star jam version of "Pink Houses" - a song I certainly never thought I'd see performed live by its original artist, let alone with backing vocals by Neko Case.

Friday's final act on the Banjo Stage was a fellow by the name of Jeff Tweedy. He played a very nice set of songs, and we were pleasantly surprised that the set went half an hour past the scheduled stopping time of 7:00. ("We" included the charming SF locals plus the welcome additions of Judy and family - yay babies! - and British import Andrew.) We were more than happy to get up and dance for the last couple songs of Jeff's set, and not just because we were freezing. The finger picking at the end of "Acuff-Rose" sounded right at home in that setting. We rounded out the evening with Best Burrito Night Ever, a trip down Lombard Street, and an illicit late-night visit to the Yoda fountain.

Saturday found U and I taking a break from the festival to fly a bit further south, meeting up with Heidi to check out that one guy we like to see at Largo. Due to bluegrass commitments Heidi was the only one to do the the Friday/Saturday Jon Brion double-header, but I'm glad we were able to make it for Saturday night. U and I also had enough time to hit up Farmer's Market and indulge our Pinkberry cravings once again. So much sooner than I expected to get my next Pinkberry fix! Jon's show that night probably won't go down as one of my all-time favorites, but it was a solid, enjoyable night of music. Ben Gibbard joining in for a few songs was a nice surprise, and we saw a lot of piano material from Jon. My favorite part of the night had to be the set-closing "Nowhere Man" in the style of Les Paul. A rather evil way of granting that request, indeed.

Sunday we were back in San Francisco in time to eat dim sum and arrive at Golden Gate Park before Earl Scruggs began his set. Andrew had become a HSBG crowd celebrity in our absence, staking out the best spot that day and earning an infinite number of hardcore fan points. We were only too happy to join him and bask in reflected glory. Earl Scruggs played a very enjoyable set - I kept feeling like I should be seeing him and his band at Cain's Ballroom in Tulsa or somewhere similar. And again, who ever thought I'd see the theme from The Beverly Hillbillies performed live by its original artists? Earl was followed by Doc Watson - who, though it's really impossible to compare him with Emmylou, may have been my favorite act. I loved his stories and his songs, and feel very fortunate to have seen him perform.

The finale of the night - and the festival - was Emmylou Harris. I'd never seen Emmylou before, but this may have been the perfect setting for my introduction. She looked beautiful, of course, and she has such an amazing voice. Her choice of material was inspired, and the crowd - stretching as far back as I could see - ate up the performance. A lovely ending for a lovely weekend. Overall, the Hardly Strictly Bluegrass Festival impressed me immensely. The atmosphere was unlike any other festival I've attended - much more relaxed and, well, just good-natured. If all festivals could be like this, I would attend a lot more of them. As it is, I hope to make my way back to San Francisco for another HSBG in the not-too-distant future.

More photos here.

All I wanna do is get down

Another day, another Ryan Adams concert. After not having seen him in four years, it was quite a change to see Ryan and the Cardinals twice within a four-day span. I could get used to it, though. There's something almost addictive about not knowing whether to expect a fantastic show or a meltdown. I also like that Ryan tends to change up his setlist a fair amount - which seems like it shouldn't matter to someone seeing a grand total of two shows, but it's more that I appreciate the spirit behind it.

The Madison show, as I expected, had a different vibe from Milwaukee. The show was in my beloved GA Barrymore, and I managed to plant myself in the front row - a first for me at a Ryan Adams show. I met some cool people in line, which is always a plus. (As one of the only locals in line around 5:30, I also got to give directions to a harried man I assume was the tour manager - he needed to find the Crystal Corner Bar and St. Vincent De Paul to pick up Ryan and Neal because they'd wandered too far down Willy Street.) This show definitely rocked harder than the Milwaukee show. I don't think the sound was as good, though, which is partly due to the venues and partly, perhaps, to the sound mixing.

Ah yes, the sound. The Madison show came on the heels of a fiasco of sorts in Minneapolis, where apparently Ryan was having so many problems with the monitors and vocal sound that the band only played for about an hour. Those problems seemed to continue in Madison. Ryan addressed the sound guy on the microphone at one point, and spent a couple of songs moving his microphone around and kicking his monitors.

I have to be honest - the sound problems detracted from my enjoyment of the show. Not because I thought the sound was bad, but because I was just waiting for Ryan to totally lose it and storm offstage. He didn't, though - and actually between bouts of being pissed about the sound, he looked like he was having a good time. The band was goofy all night, Ryan broke the heel of his boot and had to play one song in his socks (they didn't match my bedroom) and there were multiple conversations with the audience throughout the show. Lots of teasing Neal, and some fun scientific discourse on the temperature of human testicles. Along with some other toys, a large cardboard Big Bird cutout graced the stage all night. I hadn't fully appreciated the hilarious contrast between Big Bird and the beautiful lighting and stage setup until I took a look at my pictures afterward.

And oh, there were the songs. The show was comparable in length to Milwaukee, I think, which is pretty long by the current tour's standards. The band played for about an hour and fifty minutes, with more jams and general rock than Milwaukee. The set included a ten-minute crazy version of "What Sin," "Bartering Lines" (yay!) and a solo piano encore of "Sylvia Plath." I was, however, somewhat sorry I didn't get to see them play "Halloween Head" or "Magnolia Mountain." Since I could conceivably have gone to the Chicago on Saturday, but am not going, I think that probably guarantees Chicago both of those songs. Heh. Oh well; there are only so many bands I can handle seeing obssessively, after all. It was a good Wisconsin run with Ryan, and I hope he comes back again soon.



More photos here.

Goodnight Rose

I saw Ryan Adams and the Cardinals on Tuesday evening at the Riverside - my first time seeing Ryan since 2003. It was a really good show. The Cardinals (and Ryan) are all skilled musicians, of course, but what blew me away was how incredibly well their voices blend together. Ryan Adams may not be the most consistent or reliable of performers, but hot damn, that man has a set of pipes.

The show began forty-five minutes late, which annoyed me because I had a drive waiting afterward. I forgot my annoyance as soon as the band came on. They played material from a variety of Ryan's releases, heavy on the Cardinals albums (for obvious reasons), and Ryan threw in a solo cover of "Brown Sugar" for good measure. It looked like he may have been planning to do another solo piano number afterward, but as the audience members hooted and hollered from the balcony, he stood up abruptly and signaled for the band to rejoin him. Ryan did seem a bit temperamental on Tuesday, but there were no hissy fits thrown, so it was a good night.

I'm really looking forward to the Barrymore on Friday. The atmosphere will be quite different, I think.



Setlist:

Wild Flowers
Games
Cold Roses
Beautiful Sorta
Peaceful Valley
The Rescue Blues
Dear John
I Taught Myself How To Grow Old
When the Stars Go Blue
Night Birds
The Sun Also Sets
Off Broadway
Goodnight Rose
-----
Brown Sugar [Ryan solo, on piano]
Please Do Not Let Me Go
A Kiss Before I Go
Freeway to the Canyon
I See Monsters

More photos here.

Something apropos

As I expected, I enjoyed Thursday night's Wisconsin Union Theater Andrew Bird show in Madison a good deal more than I enjoyed his set a couple of weeks ago at the Hideout Block Party. The crowd was, for the most part, perfect - silent during the quiet parts, cheering loudly between songs. (Except for the girl who kept yelling "Andrew, you're HOT!" But even she waited for opportune breaks.)

Andrew noted early on that he's played Madison fifteen times or so in the past, and - he meant this affectionately, he assured us - mostly in shitholes. So he wasn't quite sure what to do with the pristine Union Theater. He did a good job of figuring it out, though - he suggested a rock 'n roll dance party. Though the crowd remained seated for the show, Andrew (along with Martin Dosh and Jeremy Ylvisaker) delivered with the more upbeat numbers. With a couple of additions, I think they played a very similar set to the one they did at the Hideout. Everything just sounded a little better to me in Madison.

There were other differences, of course. Andrew brought along some toys, including a large sock monkey who sat on an amp during the latter part of the show, and a See 'n Say that he used to augment the performance of "Spare-Ohs." He talked to the audience more as well, which was reminiscent of the last time I saw him in Madison at the Orpheum Stage Door. The videos that accompanied a few of the songs were also present on Thursday, projected behind the band rather than off to the side as they were at the Hideout. Visually it was very striking, and made for some nice photos. In fact, I had such an excellent seat and the lighting was so good that I took way too many pictures.

This is going to sound suggestive, but I noticed that the socks Andrew wore on Thursday matched my bedroom. They had stripes of brown and cream and pink. If only they'd had some green stripes too, I might have had to ... um ... yeah, so I guess I don't really have a satisfactory conclusion for that sentence. Ask him where he bought them?

Now that I've seen Andrew in a variety of situations, it's become pretty clear what makes for my own personal optimal enjoyment. I prefer the violin to the guitar. I prefer seated theaters to GA festivals. And as much as I enjoy what Martin and Jeremy add to the songs, both live and on the latest album, I think I prefer Andrew solo. I was glad he did a few songs that way at the Union.

Martin Dosh opened the show, accompanied by Mike Lewis and, for a song or two, Jeremy Ylvisaker. (Whom Martin referred to as the Electric Platypus.) Very enjoyable, very jazzy. They kept my complete attention for the whole set, which is more than I can say for a lot of openers. (And even some headliners, actually.)

Setlist:

Instrumental [Glancing at a setlist on the stage, something like Anonanimalia?]
Fiery Crash
Opposite Day
Why? [Andrew solo]
Nervous Tic
Spare-Ohs (preceded by a story about the song's origin and Andrew's chickens)
Plasticities
Simple X
IMitosis
Armchairs
Dr. Stringz > Fake Palindromes
Skin Is, My
Scythian Empires
-----
Wait [Andrew solo]
Tables and Chairs [Andrew promises there will be not just snacks, but salty snacks]

More photos here.

A tale of two cities

Two cities where I saw Wilco shows this week, that is. Hot on the heels of the Labor Day weekend concerts, Wilco was kind enough to schedule two shows on back-to-back nights on and around my home turf. Tuesday they played at Overture Hall in Madison, and Wednesday night at Millennium Park in Chicago. Shockingly, I made it to both. Here is a brief rundown:

Cool things about the Madison show:

• Really short drive! And a fine location on State Street. It was a beautiful day on Tuesday, and if I hadn't had to work it would have been a great opportunity to enjoy an afternoon downtown.
  
• The combo of "Red-Eyed & Blue" and "I Got You." It's been a rare treat in past years, and if those songs are making a setlist comeback I am in full support.
  
• Though it was written at least two years prior to the event, "Ashes" felt especially poignant on the 6th anniversary of 9/11. The crowd listened attentively, and there were some cheers when Jeff sang the the line "I would like to salute the ashes of American flags." I'm glad they pulled that one out.
  
• The Overture Center is really beautiful, and Overture Hall has excellent acoustics. Everything sounded great from my seat in the middle of the ninth row.

Not so cool things about the Madison show:

• I had a seat in the middle of the ninth row. This was actually a great vantage point, but it doesn't quite compare to being up front at a general admission show. In addition, the venue was on the formal side, so there was a lot of indecision in the crowd regarding standing vs. sitting. Eventually (after some good-natured mocking from Jeff) most people on the floor decided to stand up. For short people this is view-limiting, but I still prefer it for a rock show. Overall, though, a more sedate crowd - befitting the venue - compared to the Thanksgiving Eve blowout last year. Oh, Barrymore. I love you.
  
• Although many of my local friends attended the show, I found myself unexpectedly sans seatmate when Paul's Stevie Wonder concert in Chicago was rescheduled for Tuesday night. I generally don't have a problem seeing shows by myself, but it's less fun with reserved seating and seems especially weird for me with Wilco. I don't think I'd seen a Wilco show by myself ... ever. It was fine, but I still prefer having someone(s) I know by my side to share the fun.
  
• Weirdly early curfew. The band apparently had to finish by 10:30, and wound up cutting out a few songs from the second encore.

Cool things about the Chicago show:

• The location. I'd never been to Millennium Park, but it was fun to walk around and see the faces on the Crown Fountains and the Bean before heading into the Pavilion for the concert. This was only the fourth big rock show the park has hosted in the fantastic Gehry-designed Pavilion, which I think added a bit of extra excitement to the proceedings. With an 11,000-person capacity (including the lawn) the venue is massive, but this hometown show sold out almost immediately. The acoustics were excellent, especially given the size of the Pavilion and the fact that it's outdoors. I'm just not used to seeing outdoor shows in places that were actually designed for music. The band seemed happy, the crowd seemed happy and enthusiastic, and I wouldn't mind one bit if an annual Millennium Park show replaced the Auditorium as the standard Wilco Chicago location.
  
• The fact that it was a benefit for the Chicago Coalition for the Homeless. Wilco (and Jeff in particular) do a lot for charity, and I'm always grateful for the opportunity to combine good music and a good cause. Yay generosity!
  
• The setlist. The band took requests for the show via their website, though cleverly never actually promised anything would come of them. Most of the main set was standard (though I believe Jeff that at least one person had requested each of the songs) - which seems appropriate for a huge hometown concert. But the encores contained some great surprises, including "Box Full of Letters" and "Casino Queen." Man, I am such a sucker for the old rarely-played classics. It's kind of funny, because the whole reason I got into Wilco was Yankee Hotel Foxtrot's more complicated, introspective and unusual sound and lyrics. It remains my favorite album, and I really enjoy the newer songs as well - as has been well documented here. But somehow that doesn't explain why the opening chords of a 1995 rocker instantly transform me into a bouncy, screamy teenager.
  
• Getting a chance to catch up with so many friends. I know way too many people who live in Chicago.

Not so cool things about the Chicago show:

• It may have just been our location in the Pavilion, but it seemed like the cheering and singing of the crowd wasn't all that audible. It seemed to dissipate into the night sky rather than creating the resounding roar you'd expect from 10,000 people, or that you even hear from a much smaller number in cozier confines. Acoustics work in mysterious ways, so I can't really say how things sounded from any other location. One of the left speakers above our heads was also buzzing during the encores, which was a bit distracting. Our seats themselves were decent - sixth row, but pretty far to the left. (I know I sound like a brat calling those "decent" in a place so huge, and I feel fortunate I was able to pull them up during the ticket sale. But what can I say?)
  
• While the show was going on it wasn't much of an issue, but it was cold outside. That was much better than hot and humid, but ten degrees warmer would have been perfect.
  
• Having to drive all the way back home right after the show, do a little work at 1:00 a.m., and then go to work at the normal time in the morning. Really, though, I ask for it.

You'll notice that none of my "not so cool" items for either show had much to do with the performances themselves. Wilco put on two solid shows, though I think their energy was higher in Chicago and all the intangibles added up to a better show overall. I'm glad to have seen both and had the chance to compare. Dr. Dog opened both nights, and though I hate their name with a passion and it annoys me that three band members wear sunglasses onstage (indoors), I found their actual music enjoyable.

Until next time!

Hideout - Top of the Pops

As musical bang for your buck goes, the Hideout Block Party is a pretty good value. On Saturday I paid $20 for a full afternoon and evening of musical entertainment. It's not quite $10 for 24 hours, but really, what else is?

I arrived in time to see the end of O'Death's set, followed by Dan Deacon. Since he was set up on ground level I couldn't see any portion of his set, but it was certainly high-energy. Most of the folks up front were pogoing with gusto. I appreciated the fact that he warmed up the crowd by playing "Under the Sea" from The Little Mermaid on his iPod. He even mentioned Sebastian by name, earning extra points.

I met up with Sam and Paul just in time for Mucca Pazza to parade right past us to the North Stage. We noticed a Detholz! member on cymbals. I've only seen Mucca Pazza once before, at the Conan taping over a year ago - which barely counts. I get the sense they'd be more fun in a smaller enclosed area - where things would probably get kind of crazy - but that's not to say they weren't also fun to watch on a big stage in a large truck parking lot.

Following Mucca Pazza was a short set from the Hideout Punk Band, a merry collective of Hideout bartenders plus Sally Timms and Jon Langford. Jon may have been under a blanket; I think Sally was wearing some sort of sheep outfit. They did a bit of an Art Brut tribute, and ended by insisting they were the real Art Brut - while the more widely accepted version got ready to start its set at the South Stage. I'm rather sorry we didn't get to see more of the Punk Band, actually. They were definitely one of the more fun and unique and aspects of the block party.

I wasn't familiar with Art Brut prior to Saturday, aside from seeing them perform on a late night TV show recently. I enjoyed their set, but I have to be honest - probably at least 50% of that was because I enjoyed their accents so much. And by "their accents" I suppose I really just mean Eddie Argos. I'm not usually that much of a sucker for your average British accent, but what can I say? It added a lot to the whole Art Brut experience. I'm not sure I'd buy one of their albums, but I would see them live again.

Art Brut was followed by the Blue Ribbon Glee Club on the North Stage, but I'm afraid I didn't see much of their performance. I'd decided to ride the wave of people who surged forward after Art Brut to get into a better position for The Frames, the next band due at the South Stage.

Last time I saw The Frames was also at the Hideout, more than three years ago. That was inside - not exactly a festival atmosphere. Whether there are 200 people or 2,000 watching, though, Glen Hansard is an excellent showman. I know The Frames aren't everyone's cup of tea, but I've been a fan since the first time I casually checked out this random Irish band playing at the Annex in Madison. That's due to their music, of course, but also due in a large part to Glen, who exudes charisma.

I haven't done a great job keeping up with The Frames of late, which means that I'm not familiar with their two most recent albums. Despite this, I knew most of the songs they played on Saturday night. If I attended a lot of Frames shows, that might have bothered me. As it was, I loved hearing so many of my favorites - "Revelate," "Fake," "Rent Day Blues," "The Stars Are Underground," "Lay Me Down," and "God Bless Mom" to name a few. I was pleased to see some subtle differences in their performance this time around - no "Ring of Fire" snippet interjected into "Lay Me Down" (though a couple of weeks ago 16 Frames actually became the sixth band I've seen perform part of that song live.) And Glen imitated a leprechaun during "Revelate" on Saturday as he sang "my lucky charms," instead of pretending to eat a bowl of cereal. These are the details that make me happy.

That's not to say that there weren't plenty of cover song snippets thrown in at various points in The Frames' set. Their soundcheck was actually a lovely rendition of "Into the Mystic," for starters. During the main set we got bits of "Wave of Mutilation," "Lilac Wine," "Leader of the Pack" (ha), and even a few lines of "Reservations" (by that other band I see a lot) during "Pavement Tune." One of the coolest things that happened all night was when Glen made the fangirl fantasies of two women come true. I guess I can't say that with 100% certainty, but he did invite a female fan onstage to sing Marketa's part in the duet "Falling Slowly." Seriously, how neat is that? Two women wound up onstage because the first one claimed she knew the song but then had second thoughts, so another woman came up as well, but then it turned out they both knew the song after all. I don't know. It was really fun to watch, though. Both of the women looked like they might die of happiness.

The last song The Frames played was "Where is My Mind," which I've actually seen them cover before. But they brought out the Blue Ribbon Glee Club to sing it with them, which was very fun. They came back to loud cheers for an encore of "Red Chord," which put them well past their scheduled end time. I didn't notice many people caring.

After The Frames there was a frenzy of tear-down and setup, and then it was time for the headlining Andrew Bird. If you've read this blog before, you may know I'm quite a fan of Andrew Bird. Saturday night, though, wasn't one of my favorite performances. I'm not sure why - I think he's better suited to theaters, but that by itself wasn't really the issue. Andrew has always been one to change up the live arrangements of his songs compared to the album versions. That doesn't lend itself to singing along, since it's hard to know exactly what lyrics are coming or what changes might be made to the melody. That doesn't usually bother me, but maybe on Saturday night I was in the mood to communally belt out some songs - and it frustrated me a little that I couldn't do that. (Well, it didn't totally stop me. Some songs still work.) In particular, though it was nice to hear "Opposite Day" get played for a change, I wasn't a fan of the arrangement.

This isn't to say that Andrew gave a bad performance. "Fake Palindromes" was three minutes of pop bliss as always, and I enjoyed the buildup of "Simple X" into a swirl of sound that I appreciated even more than the album version. "Armchairs" was lovely in person, and Andrew even played "Dr. Stringz" from his big Nickelodeon debut on Jack's Big Music Show. His encore of the Handsome Family's "The Giant of Illinois" was unexpected (at least by me), and I enjoyed hearing something I'd never heard him play before. Still, I'd say The Frames were my favorite act of the night.

Once Andrew finished (thirty-seven minutes past the music curfew, according to Tim Tuten) the Chicago Short Film Brigade began running films on a big screen next to the stage. I loved them when they "opened" for Andrew at the Union Theater, but I was just too tired to stick around for more than a few. (Carmichael and Shane did crack me up, though.)



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)

In the front row, at the melt show

Saturday was a bright, sunny, muggy, hot day at Taylor Street Festa Italiana. Chicago street fests are almost always a good time, but I don't get down to too many these days. However, a few weeks ago I discovered that the Old 97's would be playing Festa. Not only the Old 97's, but a Saturday bill that included Nora O'Connor, Chris Mills, Blue Mountain, and the Old 97's. Add Italian food, bocce tournaments and the fact that the cost of admission was a suggested donation of $10, and how could I possibly pass it up?

I couldn't. So Saturday early evening found me at Festa in time to watch some bocce, wolf down a good portion of a meatball sub from Rosebud, and make my way to the Peroni main stage for the second half of Chris Mills' set. I'd never seen Chris before, despite a decent number of opportunities. My loss - I thoroughly enjoyed what I saw of his performance on Saturday. His band included Fred Lonberg-Holm on cello and Ryan Hembry on bass, and they definitely made it worthwhile for those who braved the sun to check them out. The majority of the people watching Chris's set were lined up on the sidewalks in the shade, leaving the street wide open. Having preemptively slathered up with sunblock, I was unafraid of the sunshine. (I did forget to slather up with something that would block the 90-degree heat, however.)

Up next was Blue Mountain, yet another band I hadn't seen before. I've watched Laurie Stirratt play with her brother and with Healthy White Baby in the past, but I was out of town the only time Blue Mountain came around my neck of the woods. I was impressed by the amount of rock they managed to squeeze out of a three-piece band. I guess I hadn't really been aware that it would just be Cary, Laurie, and a drummer - but that's all they really needed. Laurie said they're working on some new stuff that should be out in the spring, so I'm looking forward to that.

Last but not least, of course, were the Old 97's. Sooz and I stood up front next to some very cute kids - big Old 97's fans - with homemade signs. They wanted to hear "Indefinitely," which was eventually played and dedicated to them. I hadn't seen the full band since October of 2004, and boy, did I miss them. (Especially when I saw Rhett with the Believers last year - sorry, Believers.) Saturday night was everything an Old 97's show should be - the crowd sweaty and dancing, Murry's big grins, Ken's intent jamming, Phillip propelling "Four Leaf Clover," and of course Rhett with his hair flying and hips swaying. Don't get me wrong; I think he's an extremely talented musician, but seriously. The man is hot.

They played a bunch of my favorite songs, but the song I most wanted to hear on Saturday was one I'd never seen them (or Rhett) play in person: "Over the Cliff." I figured there was a chance, given that it's originally a Jon Langford tune and we were in Chicago and all. Sooz and I yelled out for it before the first encore, and what do you know - they closed the encore with "Over the Cliff." It was obviously planned as the finale, but I'm going to go ahead and pretend that we were responsible. I think I pogoed for the whole song. The second encore was the requisite show-closer "Timebomb" - it just wouldn't feel right if they didn't play it, so I'm glad they did.

Afterward I chatted with Sam and Sooz for a little while, scored a free chocolate-covered apple slice from a random Festa booth, and stopped in White Hen for the largest bottle of water they sold. I should really get to more neighborhood festivals - especially these that celebrate my own heritage! Well, I guess I am seeing Wilco later this month at the Greek Theatre. That counts, right?

More photos can be found here.