50,000 SCREAMING teenie boppers can't be be wrong
I kind of lucked out getting a Taylor Swift ticket. The day before the show, I happened upon a Craigslist add for a ticket. The ad wasn't selling tickets, but letting others know that the venue release a new batch of tickets and there were still great seats available. A few clicks later and I had secured a ticket nearly dead center only 9 rows back.
As I sat down in my seat, I looked around and instantly realized it wouldn't be one of my typical shows. Instead of 20-something hipsters and 30-something professionals that I normally see at my usual small indie venues, at least half of the audience in the Toyota Center that evening were girls under the age of 17. Another quarter was the parents of those girls. While I'm happy to see that a younger generation can be as enthusiastic about concerts as me, I could have done without all the screaming. I didn't pack my earplugs when I left home, thinking, "it's a Taylor Swift show in a large venue, how loud could it be?" Oh, how wrong I was.
The concert itself was not what I was hoping for, but it's what I should have expected: more of a show than a concert, complete with elaborate sets, numerous backup dancers, and costume changes. Some of her first words to the crowd compared her love for us as greater than her love for "sparkly dresses," and "burning my ex-boyfriends pictures." While was clearly not catered to a mid-20's audiophile, it was well put together for what it was, even if I would have been happier to see Swift incorporate a few more extended instrumentals and less acted skits and sequences. Furthermore, as expensive as the stage set up was, the sound quality left much to be desired, with Swift's voice being drown out by the drums and the bass in several of the opening numbers. Throughout the show, Swift appeared particularly appreciative and in awe of the love and support the crowd bestowed upon her. While it certainly appeared genuine, after over a hundred shows (and probably her 2nd time stopping in Houston), I found it hard to believe that her surprised expression was genuine. Nonetheless, at least she tries to appear humble.
Swift made her way through all of her hit songs from both of her albums. For such a young artist, it's impressive to remember just how many of them there are, especially considering that she writes them herself. Though she includes references to her country roots, such as banjo accompaniment during a couple songs, Swift is clearly embracing her pop icon status, such her her choice to include the Justin Timberlake song "What Goes Around" as her only cover of the evening. Also a little surprising was that Swift also played up her status as being known for writing songs about specific ex-boyfriends who've wronged her and unrequited love. While the young girls at the show ate it up, to me, it made her seem just a tad bit on the crazy side. Anyone but a cute, young girl singing the lyrics of "You Belong with Me," and you'd think the writer was a sketchy stalker.
Many of the sequences had scenes acted out as part of the show, including a cheerleaders and her band uniform during "You Belong with Me," sitting in class next to a boy during "Teardrops On My Guitar" (during which she didn't actually play the guitar), and 18th century English ballroom dancing. While elaborate and not directed at me, the fans were eager For the final song of the encore, a shower began pouring water on the stage to simulate rain, soaking the star performer so she could thrash her wet locks in dramatic fashion. And I had thought I'd seen it all. Great artists and performers always think of something new, which Taylor Swift is quickly proving herself to be both.
Setlist:
You Belong With Me
Our Song
Tell Me Why
Teardrops On My Guitar
Fearless
Forever & Always
Hey Stephen
Fifteen
Tim McGraw
White Horse
Love Story
The Way I Loved You
You're Not Sorry / What Goes Around
Picture To Burn
Today Was A Fairytale
Should've Said No
Tuesday, May 25, 2010
Saturday, May 8, 2010
Jónsi, Terminal 5, New York, New York
A surreal, dreamlike evening from the lead singer of Sigur Ros, fresh off the release of his first solo album
Though I doubt few people would have guessed it, the band presently on the top of my bucket list right now is Icelandic post rock band Sigur Rós. I’ve been a big fan since I heard their brilliant 2005 album Takk..., but since then they’ve had a limited US tour schedule the past few years, so I still have yet to see them in concert. Though not the same, I was greatly anticipating seeing lead singer Jónsi, fresh off the release of his first solo album, in New York City.
Lauren and I met up with Lisa Friedman for dinner before the show. Unfortunately, time slipped away from us, and when the three of us eventually made it to the show, the venue was packed and Jónsi was about to begin his set. The girls were hoping to find somewhere where they would be able to at least get a glimpse of the stage, so we made our way up 2 levels of to find a view. It was nearly impossible to find anywhere to see, even high up, and we could only see the stage peering over shoulders and through legs.
Instead, I attempted an alternative method, finding a comfortable spot in a reasonable proximity to a large speaker and sat so that its sounds would hit my ears symmetrically. Instead of trying to watch the show, I just sat and listened. It turned out to be an enjoyable way to experience the show, as it allowed me to focus on only the delicate and dreamlike nature of the music, instead of any of the show’s visual elements. I only occasionally made my way through the crowd to glance at the stage, as it was important for me to at least see who (number of people) and what (instruments being played) were on stage, to help me visualize the sounds. Of course, a girl over whose knees I peered informed me that the band was continually switching instruments throughout the show anyway. Nonetheless, closing my eyes allowed me to focus on all of the subtleties present in this type of music, taking more care than normal to pay attention to how the sound from each instrument was layered on the next. It was incredible. I suspect that there are few concerts that would be enjoyable for me to watch this way, so I’m really happy that this was the show to which I ended up being late.
Jónsi stuck to only his songs, mostly from his new album, including “Go Do,” “Tornado,” “Hengilás,”and “Boy Lilikoi” and didn’t treat fans to any Sigur Rós selections. While I was already satisfied with the concert, the encore was the pinnacle of the evening, even though it didn’t contain any of my favorite songs. It began with an energetic version of “Animal Arithmetic,” to which Lisa, Lauren, and I ended up dancing and jumping throughout. It was a nice change of pace after standing still or sitting for most of the show. As my heart beat slowed, Jónsi began an incredible version of “Grow till Tall” with his beautiful and ethereal falsetto voice trailing off and artificially cracking, while the snare drum tapped and tension built. The live version lets the entire band showcase their talents a little more than the album with bells sounding and guitars running wild. It was the type of encore that when at the end, Lauren asked me if the show was over, my only response was, “I actually hope they’re done, because there’s no way they’re going to top themselves after that song.”
Approximate Setlist:
Stars in Still Water
Hengilás
Icicle Sleeve
Kolniður
Tornado
Sinking Friendships
Saint Naive
K12
Go Do
Boy Lilikoi
New Piano Song
Around Us
Animal Arithmetic
Grow Till Tall
Though I doubt few people would have guessed it, the band presently on the top of my bucket list right now is Icelandic post rock band Sigur Rós. I’ve been a big fan since I heard their brilliant 2005 album Takk..., but since then they’ve had a limited US tour schedule the past few years, so I still have yet to see them in concert. Though not the same, I was greatly anticipating seeing lead singer Jónsi, fresh off the release of his first solo album, in New York City.
Lauren and I met up with Lisa Friedman for dinner before the show. Unfortunately, time slipped away from us, and when the three of us eventually made it to the show, the venue was packed and Jónsi was about to begin his set. The girls were hoping to find somewhere where they would be able to at least get a glimpse of the stage, so we made our way up 2 levels of to find a view. It was nearly impossible to find anywhere to see, even high up, and we could only see the stage peering over shoulders and through legs.
Instead, I attempted an alternative method, finding a comfortable spot in a reasonable proximity to a large speaker and sat so that its sounds would hit my ears symmetrically. Instead of trying to watch the show, I just sat and listened. It turned out to be an enjoyable way to experience the show, as it allowed me to focus on only the delicate and dreamlike nature of the music, instead of any of the show’s visual elements. I only occasionally made my way through the crowd to glance at the stage, as it was important for me to at least see who (number of people) and what (instruments being played) were on stage, to help me visualize the sounds. Of course, a girl over whose knees I peered informed me that the band was continually switching instruments throughout the show anyway. Nonetheless, closing my eyes allowed me to focus on all of the subtleties present in this type of music, taking more care than normal to pay attention to how the sound from each instrument was layered on the next. It was incredible. I suspect that there are few concerts that would be enjoyable for me to watch this way, so I’m really happy that this was the show to which I ended up being late.
Jónsi stuck to only his songs, mostly from his new album, including “Go Do,” “Tornado,” “Hengilás,”and “Boy Lilikoi” and didn’t treat fans to any Sigur Rós selections. While I was already satisfied with the concert, the encore was the pinnacle of the evening, even though it didn’t contain any of my favorite songs. It began with an energetic version of “Animal Arithmetic,” to which Lisa, Lauren, and I ended up dancing and jumping throughout. It was a nice change of pace after standing still or sitting for most of the show. As my heart beat slowed, Jónsi began an incredible version of “Grow till Tall” with his beautiful and ethereal falsetto voice trailing off and artificially cracking, while the snare drum tapped and tension built. The live version lets the entire band showcase their talents a little more than the album with bells sounding and guitars running wild. It was the type of encore that when at the end, Lauren asked me if the show was over, my only response was, “I actually hope they’re done, because there’s no way they’re going to top themselves after that song.”
Approximate Setlist:
Stars in Still Water
Hengilás
Icicle Sleeve
Kolniður
Tornado
Sinking Friendships
Saint Naive
K12
Go Do
Boy Lilikoi
New Piano Song
Around Us
Animal Arithmetic
Grow Till Tall
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