Saturday, November 30, 2013

Matisyahu, Park West, Chicago, Illinois

I have seen Jewish reggae singer Matisyahu several times previously and have found his shows to be a bit hit or miss, ranging from a terrible show in Baltimore circa 2008 to an incredible show in San Francisco the following year. The Saturday following Thanksgiving 2013 at Park West would be my fifth set, for which I was looking forward to, though with tempered expectations. We arrived to opening act Kosha Dillz, a Jewish rapper who I’ve seen perform with Matisyahu before, just taking the stage. His set was fine though somewhat forgettable. We secured a good spot that was both fairly close to the stage and the center; it was probably the closest I've ever been for a Matisyahu set.

It was my first time at Park West, which I found to be set up in a somewhat unique manner. As far as I could tell, the entire theatre is general admission but only the area closest to the stage is standing room. Fifty or sixty feet back from the stage are a series of full service tables and chairs. Tables and bar areas cover the floor all the way to the back doors. By the time we arrived, all the tables were occupied though I was pleased to know for future reference that if you’re willing to stand, you’re guaranteed a good spot.

Matisyahu took the stage about ten minutes after 9pm with a guitarist, bassist, and drummer. He was the only vocalist for the majority of the show though Kosha Dillz joined him for a single song.  He had since regrown a beard, but it was a short, modern, stylish beard as compared to his previous long beard and payots (sidecurls). Both his beard and hair were considerably greyer than I remember the last time that I saw him.

Though I couldn’t find the exact setlist, I remember that he played a few of his newer songs towards the beginning of the set. This included “Crossroads,” “Smash Lies,” “Live Like a Warrior,” and “One Day.” Also towards the front of his set was “Jerusalem” which I thought was a bit strange. He also played a good but nearly unrecognizable version of “King Without a Crown,” with a considerably different arrangement.

As it was the fourth night of Chanukah, he brought a menorah on stage about halfway through the set and lit the corresponding number of candles. Though there was little fanfare or comment, the candles stayed lit for most of the rest of the performance.

While I enjoyed the show, it was one of the stranger sets that I’ve seen, with a few unusual elements. At one point in the set he took a running dive off the stage into the crowd, which was barely thick enough to support him. There was no barrier between the audience and the stage, so a few attendees near the front took it upon themselves hop on stage and dive off as well. A few others crowd surfed, but it didn't last too long. At one point in the show, he invited the audience on stage with him. Many people happily obliged in a series of “hey look at me” moments. Without his direct invite, this also occurred during one of the encores as well, which was a bit unnecessary in my opinion.

His main set didn't really last all that long, barely an hour. I was a bit surprised by how short it was, especially considering that the last time I saw him, he played for well over two hours excluding an encore break. He definitely has the material to play much longer. He at least returned to the stage for a pair of songs and again for a second encore, perhaps to give the crowd time to dissipate from their infiltration of the stage. The house lights even came up between the two encores, during which I was halfway out the door before I realized he would return. He had fully wrapped up his show by about 10:35pm, so perhaps a total of 75 minutes of music.

Friday, November 22, 2013

The Avett Brothers, UIC Pavilion, Chicago, Illinois

Arriving just in time for opening act, Deer Tick, we secured a close house right spot. The Avett Brothers took the stage a few minutes after 9pm. The original band consists of two brothers – Scott (banjo) and Seth (guitar) Avett – as well as Bob Crawford (double bass and occasionally violin). Joe Kwon (cello) and Mike Marsh (drums) are also official touring members and have contributed to studio productions as well. Paul DeFiglia also joined them on the piano as well as a female violinist whose name I couldn’t find.

While the show was still good from inception, I noticed a significant uptick in the performance around the midpoint mark, including the quality of the songs and the energy level of both the band and the crowd. Also, instead of keeping with more or less the same personnel and instrumentation throughout the show, they frequently changed things up. While their set was mostly acoustic set, with the brothers and Bob on the banjo, acoustic guitar, and upright double bass, for a few songs, they switched to electric instruments. This gave their normally folky sound a harder edge. Scott’s long hair was flopping wildly as he head banged. It was a smart play on their part as it really livened up the show. Furthermore, the core band – Scott, Seth, and Bob – ventured closer to the audience on a little outcropping past the main stage for several songs. This included a handful of songs performed as a trio as well as Scott and Seth each taking a turn with a solo performance. The change up in players and instruments allowed them to include quite songs like “The Ballad of Love and Hate” that would be more appropriate for a campfire sing-along as well as foot stomping and clapping songs like “Kick Drum Heart” that seemed more fitting of our actual arena setting.

They covered a bit from nearly the entirety of their fairly large catalogue including songs from Mignonette (2004), The Gleam (2006), Four Thieves Gone: The Robbinsville Sessions (2006), Emotionalism (2007), The Second Gleam (2008), I and Love and You (2009), The Carpenter (2012), and the recent Magpie and the Dandelion (2013). They also played several covers, including songs by John Denver, Doc Watson, and Waylon Jennings/Willie Nelson. The show’s lights and visuals were nothing too special though they had a few nice backdrops and videos which complimented the performance well enough. It actually reminded me a bit of a diluted Sigur Rós performance, particularly a backdrop of a still image of candles and a video of the moving sea.

Setlist:
Open Ended Life
Live and Die
Morning Song
Pretty Girl from Cedar Lane
Down with the Shine
Salina
Another Is Waiting
Distraction #74
Laundry Room Thank God I'm a Country Boy (John Denver cover)
Pretty Girl from Chile
Bring Your Love to Me
I Would Be Sad
The Ballad of Love and Hate
Nothing Short of Thankful
Murder in the City
Living of Love
Little Sadie (Doc Watson cover)
Colorshow
Kick Drum Heart
I and Love and You
Encore:
Head Full of Doubt/Road Full of Promise
I Can Get Off on You (Waylon Jennings & Willie Nelson cover)
Souls Like the Wheels
Vanity
If It's the Beaches

Thursday, November 14, 2013

Cut Copy, Riviera Theater, Chicago, Illinois

Once again at the Riviera, we arrived early and were able to secure a good spot behind a raised railing so that the shorter member of our group could still see well. In doing so we had to suffer through one of the worst opening act that I have ever seen. It was comically terrible. His set included a song about being a sexy toddler, enough said.

Australian synthpop band Cut Copy got a late start, a bit after 10pm. For those of us with day jobs, that’s never appreciated. The light spectacle they had put together was quite impressive, even if a tad too bright, so I was glad to have a proper vantage point to enjoy it. However, the sound quality at the start of their set was a bit off. The mids were drowned out by heavy bass and lead vocalist Dan Whitford’s voice. On top of that, I suspect that there’s quite a bit of voice effects used on their albums and even during their live performances. However, it sounded as they hadn’t yet kicked in, so his voice sounded irregular and a bit off. Fortunately, they seemed to fix the problem pretty quickly. Guitar, bass, drums, synths, and voice were again in harmony.

Their show included a good mix of songs from all their albums, stretching all the way back to a pair of songs from their lesser known debut album Bright Like Neon Love (2004) in the middle of their set. They jumped around the catalogue from their three most recent albums, including half a dozen songs from their break out album, In Ghost Colours (2008), a trio from Zonoscope (2011), and a further five from their most recent, Free Your Mind (2013).

Considering the type of music, the crowd wasn’t as hyper as I thought it would be. The energy seemed to ebb and flow with the tide of their biggest hits. When they wrapped up their encore with “Light and Music” around 11:30pm, the whole theatre went pretty nuts. I was impressed by the degree to which fans seemed to know the lyrics to even their newest songs, considering the album was released only eight days prior.

Setlist:
Free Your Mind
Where I'm Going
Feel the Love
In Memory Capsule
So Haunted
Hearts on Fire
That Was Just a Dream
Zap Zap
Strangers in the Wind
Take Me Over
Out There on the Ice
Let Me Show You Love
We Are Explorers
Need You Now
Encore:
Meet Me in the House of Love
Lights and Music

Saturday, November 9, 2013

Trombone Shorty & Orleans Avenue, Vic Theater, Chicago, Illinois

New Orleans brass phenom Troy “Trombone Shorty” Andrews is one of those acts that I’ll always jump on the opportunity to see whenever we happen to be in the same town. We arrived at the venue fairly late in the evening, just as he was taking the stage. He was joined by a large band including a pair of saxophones (tenor and baritone), guitar, bass, drums, as well as himself on trombone and trumpet. As many musicians as there were on the stage, it sounded like there were even more of them. We quickly found a good house left spot on one of the risen areas. Though the view was partially obstructed by a side balcony, we could still see and hear quite well.

Like all his shows, his set was lively and fun with a lot of extended jams. It’s the kind of music that anyone present could get easily swept up into, whether you’re a hardcore fan or a casual listener. I couldn’t find the exact setlist anywhere, but he played a lot from his two most recent albums, Backatown (2010) and Say That to Say This (2013), including songs such as “Something Beautiful,” “On Your Way Down,” “Backatown, and “Hurricane Season” as well as a few covers, including an encore rendition of the New Orleans standard, “When the Saints Coming Marching In.”