Year in review

It's been a bit quiet around these parts lately, so I figured I'd write a quick recap of my impressions of this year's shows.


When I first saw the lineup of shows to attend I was excited and overwhelmed at the same time. For some reason it seems as though the shows I want to see are always bunched around the same time of year. Can't they be spread out a little? Oh well, it made for lots of excitement in the fall.


My favorite show of the year was Jónsi, hands down. The stage setting and effects were incredible, almost beyond description. The whole room transformed convincingly into his own world, and every note resonated with me. It was the best overall "package" that I think I have ever seen at a show.


Going into this year, I would have guessed that Sufjan would have been my favorite, but I was hoping for the theatricality of his shows prior to this new album. It was still a treat to finally see this prolific artist--and especially to hear him talk so intimately about his creative process--but it wasn't the musical experience I was hoping for.


Another solid show was The Walkmen. They never fail to impress me, and their opening acts were thoroughly enjoyable. This was one of the best setlists I have seen them perform, and the high energy made for a fun night of dancing.


Panda Bear was fascinating and memorable because I had never seen a show like that before. Just a man on stage, almost ignoring the audience as he entertained us. I was intrigued by the projections and the way he segued from one song to the next, but after seeing Jonsi, this seemed like kids play. This is the guy you would want to DJ a party, whereas Jónsi should be writing the soundtrack to your life.


Sadly, the most disappointing show had to be Gogol Bordello. It had nothing to do with the performance of the band--their energy was infectious--but rather the obnoxious audience and overall atmosphere of the venue.


Another one that I am shocked to say is in the bottom is Cold War Kids. I loved being able to shoot photos and be so close to the band; the venue was small and intimate. Unfortunately the new songs failed to stir anything in me. I'm still waiting to see if I change my mind when I listen to them again, but even an otherwise perfect performance seemed a bit lackluster.


Well, here's to hoping that 2011 will have some wonderful new things in store. I'm looking forward to getting things started right away with Ra Ra Riot this month!

Coming up!

The next show on the list is Ra Ra Riot, slated for Jan. 22, 2011 at Harlow's in Sacramento.

Since photography was allowed at the Cold War Kids show, I expect to be able to deliver some more nice shots from this show.

First show of the new year!

Cold War Kids, 11 Nov. 2010, Harlow's Sacramento

The tiny stage at Harlow’s is just a couple feet off the ground, making it seem like the band is within arm’s length.

I felt like I could reach out and touch the band if I wanted to. Actually, I know I could have because somebody tried.

At the beginning of the encore set, some girl pushed her way to the front and crawled up on stage. Standing on her knees she draped herself over the piano and made an inaudible request of lead singer Nathan Willett.

This awkward moment was the only downside to the show at this small, intimate venue.

I could see bassist Matt Maust spit between songs, and I could read the setlist a few feet away.

The show was a mix of new and old songs. The new tracks seem to be lacking that characteristic sound I love, but I will hold my reservations until the next album arrives.

As usual, they played energetically and maintained a crisp sound.

I was happy to be able to use my new camera for the first time at a concert. All photos were taken with a Nikon D300 with a 50mm manual focus lens.

Opening act We Barbarians

Sufjan Stevens, 26 Oct. 2010, The Paramount Oakland

Stars whizzed past and it was clear we were traveling to another dimension.

The sky was in constant motion, the stars moving about to form new constellations, and Sufjan promised to guide us “as we venture into the other world.”

Acclimating to this new world was a bit of a culture shock—the old Sufjan world of middle America and bird wings was light years away from the rocket ships and aliens and never-ending stairways into space.

The old familiar sounds were also left behind. String arrangements were replaced with synthesizer and autotune.

After exploring this new landscape for a few songs, the audience gained a better understanding of the new world.

“Maybe some of you are disappointed,” Sufjan said.

He acknowledged that his new album, The Age of Adz, is significantly different from the work that he has done in the past. It wasn’t by accident that the new music took on a “cosmic character,” he said.

Sufjan wanted to challenge himself to create something unlike anything he had done before, and to accomplish this he had to ditch all of his old conventions.

“I wanted a different approach in sound exploration,” he said.

He ventured into an “abyss of sound exploration,” which he cited as often being an aimless and endless journey.

The past two years were a difficult time, Sufjan said. One of the new songs captures his emotions during his struggle.

“Vesuvius” is about life, and how the constant struggle uphill sometimes leads you to the top of a volcano. The song is about the prospect of jumping into a big vat of lava, he said.

“But I’m still here, my heart is still beating,” he said.

The crowd cheered and then the song began.

Sufjan continued to tell anecdotes and stories throughout the night. He spent a lot of time detailing the inspiration behind the album, specifically how he was influenced by the artwork and life of the late Royal Robertson.

After learning about Royal, Sufjan said that he was inspired to work in a similar manner.

“I wanted to write from sensation, from instinct,” he said.

Sufjan had lunch with Royal’s wife Adell two days prior to the show, on Royal’s birthday.

He concluded his address to the audience by playing another new song.

“This is a funky jam I wrote for Royal,” he said.

Through this and many other songs, Sufjan danced the most hilarious dance. It can best be described as a pseudo-pop and lock routine, where he rolls his shoulders and makes angular, robotic arm movements, and occasionally shuffles his feet.

This video has an example of the dancing. It's not the same show or song (some of the dancing here is more energetic and specific to the song, but at about 4:40 it's similar to what he did throughout the show). Other examples can be found all over YouTube and Tumblr, but this one had the dancing that most looked like what I remember.

When “Impossible Soul” played, some audience members laughed at the autotune. Sufjan didn’t seem to be taking himself too seriously at this point either because he donned a golden pharaoh headpiece, glittery gloves and neon shutter shades.

This gesture of inhibition seemed to transfer to the audience. As the song built into climax, a few people jumped out of their assigned seats to dance, and soon the whole audience was on its feet.

By the end of the journey, Sufjan convinced the audience that this new world was worth the journey.

Soon, soon, very soon

Time is slipping away from me. Actually, it feels more like it's running away.

The point is, I will post about Sufjan soon.

It was a fascinating show, and I can't wait to share it with you. Life has just been throwing a lot at me lately (other people's deadlines take precedent over my own, unfortunately).

Sit tight, it will happen.

In other news, In a week I will be seeing Cold War Kids for the third time.

Jónsi, 19 Oct. 2010

THUMP.

Flash!

THUMP.

Flash!

With every beat of the kick drum, a burst of light broke from a far corner of the stage. It was like someone was trying to break through a hidden doorway into the fantastical world Jónsi created.

Throughout the performance, it felt like we were witnessing magic.

A barren forest transformed into a page from an old illustrated encyclopedia, and as it burned away a swarm of butterflies emerged. Rain dripped down windowpanes, and the water level rose into a flood just on the other side of the glass.

There was no doubt that Jónsi was the ruler of this universe because he commanded everything with the sound of his voice. Lights would flash with each crescendo, and fireflies would dance gracefully to the harmonies.

The audience was also caught in his spell.

Several audience members held their hands up in the air as if they just needed to reach out to him, to feel that little bit closer. They weren’t waving or pumping their fists; they just stood with hands outstretched. Some pressed their palms together, as if in prayer.

For the encore, Jónsi briefly left the stage and he emerged donning a feathered headdress. Clouds began to gather overhead. A burst of lightning. The boom of thunder. He was summoning a storm with his music in some kind of rain dance.

Soon the storm filled the room, the darkening clouds swirled about in the projected sky, and the thunder and lightning came crashing in waves. The storm grew to overwhelming proportions, and even Jónsi's angelic voice blended into the cacophony.

But just as the storm was summoned, it departed again with the calming of the music. Rays of sunshine burned through the clouds and it was peaceful. All that was missing was the smell of fresh rain.

***
Sadly, my camera has recently been out of commission and the one I'm borrowing was too large to try to sneak in without a photo pass. Photos can be found on Flickr with a search or through the Last.fm event tag. However, please note that these photos cannot possibly do justice for the event.

Gogol Bordello, 15 Oct. 2010

The crowd at The Senator Theatre in Chico was about one-third the size of an audience at The Fillmore, but the energy was beyond anything I had seen before.

I don't know if it was the type of crowd that Gogol Bordello draws, of if it was a difference due to the locations, but it was the oddest amalgamation of people I had seen in one place.

At times I could hardly pay attention to the show because I was intently people-watching.

I saw two separate incidences of top hats. One man in overalls and pigtail buns. Bros. Moms. Goths. Hippies and hipsters.

The fact that all these different people came together for this show was almost too on the nose with the symbolism. 

The audience was incredibly receptive of the opening act, Forro in the Dark. Normally I see opening acts get lukewarm participation, but the audience cheered and danced as if they were the main attraction. 

When Gogol Bordello hit the stage, that energy multiplied. 

Eugene Hütz took off his outer shirt, swung it around and crashed it into a cymbal. As the show progressed, he removed even more clothes, including his shirt emblazoned with "Rio Bazil," a former home of his.

The crowd followed along every time Elizabeth Chi-Wei Sun ran to the front of the stage and pumped her fist in the air to the beat. They shouted the lyrics right back at the band as they played.

Although the energy was impressive for the size of the crowd, the way it was expressed was often off-putting. Obnoxious drunks that are extra loud and energetic isn't something that I consider a positive. Various items were thrown onstage, including cups and glowsticks, some nearly hitting band members. 

Looking back, the performance was great, but the people at the show left me with a bad taste. I can only hope that next time I attend a show at this venue the audience won't ruin it.