Thursday, May 24, 2012

Matisyahu, 6th & I Synagogue, Washington, DC

New haircut; same voice

Once again, I was able to talk a friend into going to see a musical artist at a smaller than normal venue for an unusual performance. Fortunately, unlike Moby’s long discussion about his photography and complete refrain from playing music, a celebration of Shavuot with Matisyahu did primarily involve him singing. The evening was emceed by the temple’s rabbi, Rabbi Shira Stutman, a woman in her late 30’s or early 40’s, who didn’t fit my ignorant definition of what a rabbi should look like. She began the evening with a brief discussion of the holiday, which celebrates God providing the Torah to the people of Israel. She kept it brief and relevant.

Matisyahu took the stage shortly thereafter. I almost didn’t recognize him at first. Gone were his signature beard and payot (side curls). Instead, he was clean shaved with a blowout. In fact, he looked almost like Jersey Shore housemate Pauly D rather than a traditional Hassidic Jewish artist. However within a few bars into his first song, the sounds of his voice made clear that it was him.

He was joined on stage by a guitarist, who seemed like an old friend instead of a hired musician. Despite seeming to know each other well, the two musicians were often at odds with their tunes and tempos and had to restart a few songs to find the right groove. At times it was a little annoying when it got particularly sloppy, but at other times it was very endearing and intimate. Matisyahu played a good mix of his songs as well as plenty of covers including Paul Simon’s “Graceland” for which he had to read the lyrics from a piece of paper. He also shared a few stories about his life including a recent motorcycle trip with his Dad. So while highly unpolished, it was a quite enjoyable set.

He truly does have an incredible voice, so powerful and melodic. At the end, Jeffrey Goldberg of The Atlantic did a Q&A with him. Actually, it might not have been him but rather a stand-in as whoever was asking the questions didn’t really seem prepared and was that great of an interviewer. It made me realize how hard interviewing someone is. Guys like Larry King and Jon Stewart make it look so easy. We didn’t stay for the entire interview; Matisyahu is kind of a weird guy. Good thing he has that beautiful voice.

Thursday, May 10, 2012

Red Hot Chili Peppers, Verizon Center, Washington, DC

Still funky

The Red Hot Chili Peppers would give me another opportunity to cross a band off my bucket list, and a pretty highly ranked one might I add. Considering how prolific the Chili Peppers have been since I was in grade school, consistently releasing albums and touring on the every couple of years, I’m surprised it took me this long to get to a show. With Rick’s expert manipulation of the Live Nation website, we were able to get some pretty good floor seats, towards the back of the middle front section in Row X. I would have preferred a general admission layout, especially for something as funky as the Chili Peppers, but I guess many of their fans have aged quite a bit and aren’t too interested in that anymore.
The Chili Pepper took to the elaborate stage set up well, utilizing some drop down movable screen that I first saw pioneered by U2 a few years ago. They immediately busted into a song from their newest album with a lot of energy for guys their age (though not quite as much energy as the still older Bruce Springsteen).

The cycled through a good setlist, both old and new, that included two songs from Blood Sugar Sex Magik (1991), four from Californication (1999), three from By the Way (2002), two from Stadium Arcadium (2006), and five from their newest album, I'm with You (2011). I would have liked for some from One Hot Minute (1995) to be included in there as well, but I was fine without anything earlier.

Lead singer Anthony Kiedis led the troupe as the seasoned professional that he is, playing frontman well and energizing both the band and the crowd. Longtime drummer Chad Smith was solid but did not add a whole lot of style to the show. With John Frusciante’s second exit from the band a few years ago, the Chili Peppers were now supported by Josh Klinghoffer on guitar. While certainly a fine guitar player, he lacked the flamboyance and flair that I’ve seen Frusciante bring to the stage via live concert DVDs. However, it was Flea, the bassist, who stole the show with his musicianship, energy, and onstage antics. He was the most athletic musician I’ve ever seen, jumping and dancing around the stage. He even walked on his hands the entire way across the stage when returning for the encore. The beginning of the encore featured a Flea solo that shook the building. I’ve never heard or felt base so loud. My whole body reverberating; I was thankful for my earplugs.

The show was solid but perhaps not quite as hard hitting as what I was hoping. It was by no means a top contender for the year, let alone ever. They certainly are consistent though, they approached their new songs with just as much vigor as crowd favorites and in fact several of their new songs, despite my not being as familiar with them, were my favorites they played that night.

Setlist:
Monarchy of Roses
Dani California
Otherside
Can't Stop
Ethiopia
Throw Away Your Television
Hard to Concentrate
The Adventures of Rain Dance Maggie
Right On Time
Look Around
Under the Bridge
Higher Ground (Stevie Wonder cover)
Factory of Faith
Californication
By the Way
Encore:
Around the World
Give It Away
[Jam]

Tuesday, May 8, 2012

Death Cab for Cutie, Walt Disney Concert Hall, Los Angeles, California

Indie rock goes classical

I was out in the Los Angeles area for a transit conference, and as Tuesday night rolled around, I was still hemming and hawing as to whether or not to trek downtown for the Death Cab for Cutie show. Eventually, I decided to go for it, hopping on the rail without a ticket but hoping for the best. It was a long way from my hotel room in Long Beach and I still couldn’t find a good cheap ticket on Craigslist or the Stubhub. I was late to the venue and Stubhub ended their listings. I panicked a bit and bought a ticket from the first scalper I could find outside the venue, probably paying a too much.

The Walt Disney Concert Hall seemed to be more designed for symphony performances, with expansive openness and seats wrapping around the entire venue. The venue itself was interesting and beautiful, easily the most aesthetically pleasing venue that I had ever attended. I had a decent seat on the side with a good view, about where a box seat would be if it were an opera, and had a few empty free seats on either side of me. Like the last time I saw Death Cab at DAR Constitution Hall in DC, my seat was high on the right side and seated. I was not too impressed the last time I saw them at DAR, though I blame much of it on the venue. While I still don’t prefer seated venues, the improved acoustics of Disney Hall did make for a better show. I bet it would have sounded even better had I been able to view the show straight on.

I was curious to see Youth Lagoon, the opening act, but did not arrive in time. I arrived in plenty of time for Death Cab though. They took the stage with the Magik Magik Orchestra, a string ensemble who was featured on their newest album. It apparently worked so well that Death Cab invited them onto their tour. I always enjoy seeing a band with a string ensemble; the new arrangements provide a refreshing take on the existing songs. The orchestra played with the band for most of their set, though they sat out a few songs, including those where it was just the band and others where it was just frontman Ben Gibbard. In total, they played all of the songs that I wanted to hear except for “Marching Bands of Manhattan.”Oh well, still a solid, if predictable, set list.

Being a seated show, no one really stood up, except for one guy in the back of the front section that got up from time to time to dance, doing little spin moves in front of his seat. I also wanted to get up and groove a bit but did not want to block the people behind me. I wish I would have had a seat in the back of a section.

Setlist:
Passenger Seat
Different Names for the Same Thing
A Movie Script Ending
Title and Registration
Grapevine Fires
Codes and Keys
Underneath the Sycamore
Little Fury Bugs
Death of an Interior Decorator
You Are a Tourist
Bend to Squares
Hindsight
Cath
No Joy in Mudville
What Sarah Said
Soul Meets Body
Stay Young, Go Dancing
Encore:
Steadier Footing (Acoustic)
405
I'll Be Your Mirror (Acoustic)
Monday Morning (The Velvet Underground Cover) (Acoustic)
I Will Follow You into the Dark (Acoustic)
Tiny Vessels
Transatlanticism