Wednesday, May 2, 2018

Sacred Shakers Bust Out At The Burren

It was kind of hard to believe when we saw that the Sacred Shakers had been booked at The Burren in Somerville.  It's a small room and they're a big band, and they hadn't played together in a while.  But we didn't stop to think and got tickets right away, though only General Admission was available by the time it crossed our radar.  That show soon sold out and they added a second show, which sold out too, and all of this for a Tuesday night in early May (5/1/18)!

We showed up at a little after 5 and got the booth first in the corridor to the Back Room (so we could get our pick of General Admission tables), had a couple of beers and recapped the day.  The crowd was right behind us and the booths to the back soon filled up, and the line extended through most of the club by the time the doors opened at 6:15 or so.

The reason they were late opening the doors was that the "sound check" really had become a rehearsal as the band was panicking about remembering who played what when, and they took turns running out for coffee or snacks.  We could hear and partly see all this confusion going on and found it pretty entertaining itself.

No counter in front of the stage was set up this time, but they had managed to cram as many tables as they could into the room when we finally were let in.  We grabbed a small table near the bathroom side, where we could get a great angle on the stage (we had to kick Daniel Kellar out of it, he was idly thumbing his phone and realized he had to move!).  And we were soon joined at the table by another couple (it was set for 4 close diners) and the room quickly became packed.  Our table-mates said that they'd been there for a couple of Irish events where it was all elbow-to-elbow standing room, but this was as full as I've ever seen it with tables.

The 8-piece band came out soon and lined up with Jerry Miller and Johnny Sciascia over on the far right, Eric Royer, Gregg Glassman, and Eilen Jewell right to left at mikes in the front, Jason Beek on a large kit behind them, and Dan Fram in front of Daniel Kellar over on our side.  They lit into the song they probably know best, I'm Gonna Do My Best, and we were off!

They were just the wrong size for the room and sounded and looked a little awkward through a good deal of the set.  They were as packed in on stage as we were in the audience, and Dan Fram actually stepped off the stage so people could see Daniel Kellar when he took his fiddle leads.  The Back Room really has a good sound system IMO, but Jason Beek was drumming as loud as Jason Beek usually does, and the rest of the band had to match this volume, and it took them a long time to get this sounding good in that small, crowded space.  And they had 5 vocalists, which added to the sonic confusion at times.

But it got very, very good nevertheless.  Here's some of what they played:

I'm Going To Do My Best
Straighten 'Em
Won't You Come and Sing For Me
I'm Tired
I Saw the Light
Before This Time Another Year
Satan Your Kingdom Must Come Down
You Got To Move
Jordan Is a Hard Road To Travel
Lord, I Am the True Vine
Gospel Plow

There was a whole lot of talent on the stage, but I first have to mention Eilen Jewell who is in a very upper class of talent.  They weren't doing her songs and she only got to sing a lead when it came around, but she was the focus for most everyone there.  And she was playing and singing as well as I've ever seen her.  In particular, Won't You Come and Sing For Me (one of my all-time favorite songs, written by Hazel Dickens) was just melting and I Saw the Light (Hank Williams of course) was brilliant.

Everyone had to hold back a little since they were playing in such a large ensemble.  Jerry Miller was as great as ever, though they didn't let him have more than a couple of measures here and there and so there was no mind melting going on.  And I was delighted to see Johnny, who used to play in Eilen's band, but he was just holding up the bottom line and didn't solo.

Jason Beek got a good number of vocal leads and was excellent.  One great feature of the night was the baritone harmony, with Jason, Eric Royer, and Dan Fram or Gregg Glassman (depending on who was on lead) combining for a great male chorus (too bad they didn't have a true bass).

Another feature of the night was Royer's excellent banjo work, which managed to be sparse and spacey even in such a large band.  We've seen him several times (and I ran into him in the bathroom and talked about how difficult it can be to get barbecue sauce off your hands) and he's truly a sui generis musician.  Kellar's fiddle work is also distinctive and I loved his fills especially.

Eilen, Fram, and Glassman took most of the leads though and switched a couple of guitars and a couple of gourds between the three of them, like they had a plan.  This actually worked out quite well, if they'd all been playing guitar at once it would have been too much, especially with the fantastic banjo rhythm Royer was providing and Kellar's fills.

I was kind of bothered by the fuss on stage; they had told us, "Welcome to the rehearsal!" and were kind of embarrassed that they were bumping along like a loud jalopy trying to navigate a rutted road for the first few songs.  But for me things started to sound right (to say the least) when they calmed down and got it together to do some excellent ensemble backing work for Eilen's vocal on I Saw the Light.  Then everyone took a deep breath and they played a great second half to the set.

It went pretty long, and then they came out and did two songs for an encore, though they kept both of them short: Twelve Gates To the City and John the Revelator, both real crowd pleasers that had people dancing and singing along.  Lots of fun!

They left the stage and we got out of there, shouldering our way back up the corridor to the Back Room and past the long line waiting for the 9:00 show.  We realized it was 9 already!  Hope the late show went late and that they'll be back again and a little better rehearsed.  And they need to play a larger room, though The Burren really has its charms.

Sunday, April 22, 2018

Los Lobos Up Close

Back a few months ago I was kinda busy with a sudden rash of Spring and Summer concerts popping out of the ice like (really) early crocuses.  One of them was Los Lobos at The Cabot in Beverly on April 21 (Record Store Day 2018) and I thought hmmm, that sounds like it really would be fun.  So I got tickets and they were fourth row center in that lovely theater.  We almost had to give up the tickets later but didn't, and so they became a little more valuable perhaps and by the time the day rolled around we were very psyched.

And after a busy Saturday and a quick nap and a fast ride over there we strolled in and took our comfortable seats and realized, Holy Fuck, we were about to see this incredible band from 20-30 feet away!

There were no techs on stage and then they got frantic at the last minute, trying to get things ready, like they were going through a Holy Fuck moment themselves.  The crowd filled in (the seat to my left stayed empty all evening, so I had plenty of room, and a cup-holder!) and then the band came out a little late with their current drummer, Bugs González, and they lit into Will the Wolf Survive ... Holy Fuck!!  One of the best bands in the world was filling our eardrums with incredible sound and moving our limbs with incredible rhythm.  And that was David Hidalgo singing this amazing song right in front of me.

The theater seemed pretty full to me but I couldn't see the balcony of course and you can imagine that I didn't spend a lot of time *not* watching what was going on on the stage.  As seems to happen sometimes, it was an "older" crowd (well, not any older than us) and there were some well-dressed people and lots of perfume!?!  And this at a rock and roll concert??  Luckily, though the audience slanted toward privileged whites, we were all there for a kick-ass night of Los Lobos music and there was lots of dancing, lots of enthusiasm, and lots of singing along.

The first set was plagued by things going wrong, some of which the techs should really have prepared for.  First a string broke on Louie Pérez's acoustic, soon after that Conrad Lozano's strap broke on his bass and Bugs had to wave frantically to the stage manager to come fix it ... which was harder than it at first seemed.  This drama kind of detracted from the songs.  And then they realized that the real problem with Louie's setup was that it wasn't routed right through the PA.  He was kind of annoyed by this, and Cesar Rosas tried to cover for the delays by riling up the crowd.  But David Hidalgo was his usual hippie-in-the-bunch and just laughed at everyone trying to get things just exactly perfect.  Of course, his switchbox soon shorted out and that was pretty much it for his first set.

So the first set was cut short but during the break they replaced Hidalgo's box, hooked up and mixed Pérez's guitars (and electric mandolin) correctly, and everything was just exactly perfect eventually.  David gave the stage manager the thumbs up, but then laughingly tried to alarm him with other stuff later in the show.

And they opened the second set with another of their best songs, One Time One Night!  The audience was not too disturbed by the fuckups in the first set since the playing had been so incredible.  But then the second set came along and any sins were far in the past.  They played a number of their Spanish-language rockers, including one fantastic, crooning song by Rosas.  And to my satisfaction, they got way out there and jammed like crazy.  Not to minimize the contributions of Pérez, Rosas, and Lozano, but David Hidalgo is one of the best guitarists in the world and he was milking some mind-bending sounds out of his custom guitar.  He also picked up the accordion and bent some minds with that.

I think the attention they paid to Pérez's sound played out well; I've always assumed he was integral to their vibe but I'd never seen him that up-close and with that degree of sound clarity, and he was just incredible.  With song after song they'd cycle between each of the guitar players taking a lead and not just taking a lead, but taking the song in a different direction with their wildly varied filters and technique.  And then Conrad would start booming and grinning and he'd take a solo!

And I can't believe it's taken me this long to mention Steve Berlin, who was at his coolest and at the same time his most intense.  He was playing the biggest baritone sax I've ever seen (when he wasn't playing great keyboards) and some of his leads on that were as consciousness-raising as Hidalgo's.  And he was cool ... when he wasn't playing he just strolled around and mumbled to himself like a true hippie.

OK, Latin songs were over, they were returning from deep space and the night was getting on, and they calmed us all down with a slow beat.  And soon we all caught the riff ... they were playing The Neighborhood, which they did as a folky sing-along.  Hidalgo was nice enough to coax us suburbanites into taking a chorus or two, which we all responded to very well I think.

And then it was time for the Buddy Holly/Grateful Dead rocker: Not Fade Away.  Bugs went nuts on this of course, he was a solid performer all night.  And then they ended that, counted a beat, and launched into the Dead's Bertha.  Hidalgo didn't really nail this vocal, but we were all mellowed out, dancing, and enjoying every bit of this.

OK, time to take a "encore" break, and when they came out to the stage David spoke sotto voce into the mike (but with a smile, we all heard him), "Will Barrence Whitfield and Willie Alexander please come to the bandstand?"  Ack, Barrence is the greatest and Willie Alexander has the great Boston pedigree!  If you haven't seen Barrence it's hard to describe him ... he can scream and sing and shout and smile and many other things all at the same time.  And he clowns around while he's doing it.

For their second encore Barrence tried to talk about Hidalgo gearing up for a Pete Townsend rave-up we weren't going to forget.  But then he knocked us over with his Roger Daltrey: "People try to put us d-down!"  All of our generation sang along with the chorus.  We were old ok, but we were rocking in Beverly on a Saturday night.

Wow, that was great!  Soon out the side-door and then an uneventful ride back home.  Experiences like that cannot be duplicated.

Saturday, April 21, 2018

Travis Tritt in Beverly

Well by gosh, I won tickets from Sunday Morning Country again, this time to see Travis Tritt solo acoustic (again) at The Cabot in Beverly.  The after-work Friday drive over to Gulu-Gulu in Salem was not as painful as it has been some times, probably due to it being school vacation week and me leaving a little earlier.  Sarah arrived at just about the same time and we had a fine meal and some fine beers and ciders.

Short drive from there up to the theater and we had 8th row or so in the center balcony, not bad at all!  Travis came on right on time and did one long set that left us all pretty satisfied.

Some criticisms were that his voice cracked from time to time and showed signs of fatigue towards the end of the set.  Perhaps he could have saved his voice a bit by not talking so much, mostly about himself, between songs.  But if he needs to remind himself that he's great, we've just got to bear with it.

So there were some low points to the concert but there were also some incredible heights.  Here's the setlist:

It's All About the Money
Where Corn Don't Grow
The Pressure Is On (Hank Williams Jr.)
I'm Gonna Be Somebody
Lord Have Mercy on the Working Man
Country Club
500 Miles (Hedy West)
Country Ain't Country
Pickin' at It
Drift Off to Dream / Help Me Hold On
Here's a Quarter (Call Someone Who Cares)
Best of Intentions
Help! (Beatles)
Are You Sure Hank Done It This Way/Mama Don't Let Your Babies Grow Up To Be Cowboys / Good Ol' Boys (Waylon Jennings)
It's A Great Day To Be Alive (Darrell Scott)
Modern Day Bonnie and Clyde
I Walk the Line (Johnny Cash)
The Whiskey Ain't Workin'

Night Moves (Bob Seger)

There was a nice audience singalong on Country Club, hard for this not to be a highlight.  But for me the best songs of the night were Lord Have Mercy On the Working Man and Best Of Intentions.  Tritt has a fabulous voice and works it hard, getting extra tremolo and rolling over the 16th-notes all the time.  And when it works it's just sublime classic country, as on these two songs.  Best Of Intentions really succeeded in being the tear jerker it's meant to be.

But the real highlight of the night was when his guitar tech brought out a twelve-string and (after a LONG introduction), he played the Beatles' Help!  I heard the other day that John first sang this as a blues and his bandmates convinced him to sing it instead as the quintessential rocker it's known as.  But Tritt not only did it as a blues, he did it as a *country* blues and it was fantastic.  He also did his wonderful cover of Cash's I Walk the Line, though his Waylon medley fell flat.

Finished with a Bob Seger song and Sarah and I took the prompt to leave a bit early and beat the crowds.  All in all a very fun night!

Sunday, April 15, 2018

Ghost Light at Thunder Road

Holly Bowling first appeared on our vistas when she did her incredible cover of Eyes for Songs Of Their Own, in the lead-up to the Dead's 50th in 2015.  This immediately got her enshrined in the inner circle of great Dead-style musicians, though her individual style is unmatched.  And of course we're huge JRAD fans, including guitarist Tommy Hamilton (who's also played in Billy and the Kids), and he has a unique style of his own.

Those two recently announced that they were making a record and soon would be on tour with a new band, Ghost Light, that also includes guitarist Raina Mullen, bassist Steve Lyons (apparently not the guy who played first base for the Red Sox), and drummer Scotty Zwang.  This caused quite a stir in the Dead continuum naturally, and when a date at Thunder Road in Somerville was announced the tickets went quickly.  I don't think they sell out very often, but the tickets were sold out (we were hoping to get one for Sally) and they were *packed* for the show on Saturday, April 14.

We were in agreement with Dead Nation and got there early so we could get good seats on the left side (they were still doing sound check when we arrived) where we could hopefully catch a view of Holly Bowling's fingering.  You should stop reading right now and watch some of her videos.  If 100 monkeys spent a thousand years practicing one particular version of Eyes they could probably do it pretty well, but she not only can kill those arranged set-pieces, her improvisation, her ear, her quickness, her fingering, her dynamic sound is incredible.  She'd played in Boston about a year ago but tickets for that went immediately and we missed it.  We weren't about to miss this!

Well anyway, they cleared up their scattered cases, clothes, and other stuff after sound check and we had a nice dinner at the counter on the left of that really nice room and then had a few beers.  And we had another beer.  The show was supposed to start at 8 but didn't until 8:50 or so and by then the place was full, and I mean full.  The rows right in front of the stage were shoulder to shoulder with rowdies ready for a Saturday night musical experience of the highest kind, and though we were having a hard time seeing over the 10 or so rows in front of us, people were milling back and forth so much we caught quite a few great views.

Holly on the left with electric piano, Rhodes, and electric organ, Tommy on the right with scarf, Scalley cap, and leather jacket (he soon discarded most of the above, it got so hot), and in the middle Raina Mullen with Lyons behind her and Zwang over on the left tucked behind Holly.

Here's the setlist, pretty much all "originals" (some were done by Tommy's earlier band) except for the Dylan song, the Dead song, and the traditional encore:

Set One: Jam> Lead Weight >Tangled up in Blue* > If You Want It (title unconfirmed) > Lead Weight
Set Two: Epic Battle Between Light and Dark > untitled (d riff) > Isosceles > Greatest Story Ever Told % **, Boy > Epic Battle Between Light and Dark > 100 Years Ago > untitled (d riff)
Encore: Old Time Religion ***
* w/ Lead Weights & Isosceles teases | ** w/ untitled (D Riff) teases | *** w/ Greatest Story tease | % Ghost Light Debut (Grateful Dead)

And I should say that Tangled was incredible, seeming to go on for hours and then to weave back into the rest of the set.  And GSET was deep and spacey and got way out there and then came back (they blew the words a few times, but it's complicated), and then went way out there again and again.  This was enough to send a Dead fan into paroxysms.

In all, this was 3.5 hours of ecstasy, great music with a pretty short set break in the middle, enough to get a beer and a toke and hit the bathroom.  There was a guy right behind us who very carefully set up his rig to stream the audio and video and I hope it appears on IA or elsewhere.  And there were people dancing like crazy in the crowd and around the edges.  This was incredible stuff.

Bowling was as good or better then I anticipated, which is saying a lot!  I expected her to be ethereal and technically great, and she was, but she was also rocking and listening to her band and responding.  And she was playing with the panache of a great piano player, using her large hands to cover and dominate parts of the keyboard and then hammering the chords until the keys were a milky swirl.  Her left hand was just incredible, pounding out the rhythm and crawling up your back to scratch that boogy-boogy itch that had been bothering you all week (if not longer than that).  And her talent for getting one roll going on one of her keyboards and then switching to another to follow it up left me smiling and laughing.

And I was incredibly impressed by Raina Mullen.  On the videos I'd seen she didn't come across as the incredibly talented musician I saw that night.  She's probably written a bunch of their original material (guess I'll have to wait for the record to come out to get that background), and she sure was singing a lot of it incredibly well.  Not only was her lead singing spot on, her
backup of Tommy was surreal, who needs Scott Metzger?  But the most wonderful bit of her performance was her rhythm playing on (what looked like) Bobby's green guitar.  Take a look at the pictures at the bottom of this review.

Gee, who else was on stage?  One of the guys was Tommy Hamilton who was playing as well as I've ever heard him and leading the band through the changes (though if Holly disagreed with him, a glance sufficed).  Some of his leads were mind-melting ... ok, most of them.

Lyons and Zwang were a very solid rhythm section and did not miss a beat.  Zwang had a solo near the end of the evening and shone on that.

But as good as those guys were, I couldn't help but think what the band would sound like with Billy Kreutzmann on the traps and Reed Mathis on the spacey bass.  They could call it Billy and the Kids if they wanted.  But we'd all know that the women in the band were *not* the kids.  And Reed would have to take a back seat to Raina on the vocals.

Yikes, what a great night!  They encored with a traditional, though they played the shit out of it.  We'd parked a couple of blocks away and got out of there pretty fast, past the phalanx of tow trucks who were removing late arrivals from the Stop & Shop parking lot.  Took the local roads back through Cambridge and Medford and Winchester on a cold early Spring night, and eventually got to bed at 1:19 by my clock.

Saturday, March 31, 2018

Maura Kennedy (and Pete!)

We were really looking forward to seeing The Kennedys at The Burren in Somerville on March 30th, after the show had been postponed back in January in the middle of a snowstorm.  We've seen The Kennedys many times, but rarely in the last few years, and we like The Burren Back Room, so this promised to be a lot of fun.  We met at Redbones for a nice beer or two and then moseyed across the street to eat before the show.

Reminder that the main reason for this blog is to document and then remind myself (years) later what the evening was like, and what my subjective opinions of the experience were.  So please don't misconstrue my subjective remarks as criticisms of Pete or Maura Kennedy, who are both marvelous musicians and we've loved over the years.  They're a power pop duo of unequalled brilliance whose music has always had a shortcut to my soul.  But I was very disappointed by this evening.

The Back Room surprisingly only barely got half full ... maybe because this was a rescheduled show and so wasn't promoted as a normal show would be.  The opener was Tory Silver, who strummed a Stratocaster and had a cute little amp.  Good blues rock with some promise.

Pete was puttering around the stage doing setup while we ate and then very nicely came by the tables and asked us what we'd like to hear.  I told him River of Fallen Stars, and reminisced about hearing them do Orange Blossom Special into Purple Haze into Eight Miles High back at the Boston Folk Festival (at least 15 years ago, admittedly).  He said, "So a space jam then?"  I said yes, but that he and Maura should play whatever they wanted to play.

Pete shrugged and in that conversation and for the rest of the night seemed to me to be very subdued.  He's at least 50% of The Kennedys, and I've seen him do some things on guitar, ukelele, bass, sitar, etc. that have been beyond captivating.  And as great as Maura's voice is, his harmonies are essential to their sound.  But this show could have been billed, "Maura Kennedy (and Pete)."  Perhaps he was sick or preoccupied that night and again, I don't mean to criticize him, but he just didn't bring it.  And they didn't play a space jam, every song they did was quick and to the point as opposed to being an exciting excursion.  It was the shortest River Of Fallen Stars I've ever heard.

But Maura was in fine voice and they did an excellent cover of Dave Carter's When I Go, as well as an excellent version of one of their new songs, Cayenne In My Coffee.  And Maura's blue "gumbo" guitar just makes some excellent sounds, it's so deep and rich.  Pete was on a white Gretsch with a rose on the soundboard, and I wished he'd rock it a bit more.  They closed with one of their anthems, Stand, which is always empowering.

I spoke to Pete when he was cleaning up the stage and Maura was working the merch table, and told him how much I enjoyed his "30 Seconds At the Coffeeshop" columns.  And that I'd really enjoyed the one he did a few years ago about seeing the reflection of the Empire State Building from their apartment in New York.  He wasn't much in the mood for chatting.  It's very possible that part of his brain was wondering why they'd driven all the way to Boston and the next day had to drive all the way to Ohio(?) to do a perfunctory show for a handful of people.  It must be tough to be a travelling musician.

Friday, March 23, 2018

The Cowboy Way At City Winery

We've been listening to Riders In the Sky for years and years.  And several of their nuggets of wisdom are engrained in our lives.  Never drink downstream from the herd, never squat with your spurs on, and always prefer The Cowboy Way to the easy way.  On top of that, I consider Ranger Doug, the Idol of American Youth, to be the best yodeler who has ever existed.

So we were very glad to finally get a chance to see them when they appeared on the roster at the new City Winery, Boston.  City Winery is apparently a chain in several big cities and has been very hesitant about opening their Boston location.  They've got wine ... which doesn't excite me, but they've also featured a great succession of music acts, though several had to be shunted off to other venues because they weren't "ready" over the Fall and part of the Winter.

They were ready for the Riders on the night of March 22nd, though the best I can give them is a C+ at this point.  They have a nice location near North Station, they have a really nice interior with lots of wood and some artfully placed exposed brick, and they have a really nice room for music, with speakers that could probably make the place shake a little if they wanted to.  But they've got this weird concentration on wine and even after the long build-up were still short on even that score, their local wine not being ready and having to fill in with stuff imported from (gasp!) New York.  And they had no beer on tap, though they'd advertised some, and their food was overpriced and really nothing to write home about, even if you ignored the high price.  Next time we go there we're eating and drinking somewhere else and then showing up.

Anyway, we were there to see the Riders and they did not disappoint!  The room was only a third full but we were all fanatics and followed their every lead.  They lined up with Joey the Cow Polka King with his large accordion on the left, Woody Paul (a Ph.D. in theoretical plasma physics from MIT) with his disapproving looks and his fiddle next to him, Ranger Doug with his guitar and his yodel at center right, and Too Slim with the doghouse bass on the far right.

It's impossible to say that they played everything, because there just wasn't enough time.  But they gave it a shot.  Ranger Doug and all of them yodeled in turn, Sidemeat came stumbling out for a few jokes, and they lit the campfire at the front of the stage and warmed us all up.

I feel bad about saying that they all were older than they had been in my imagination.  What did I expect, that I'd see the Riders I first thrilled to in the 80s?  This tour is their 40th anniversary and they're getting up there.  But Woody Paul still impressed us with a few of his moves, Too Slim still pounded the old hambone (well, skullbone) as skillfully as he had as a youngster, and Joey Miskulin ripped off some great accordion leads.

But THE guy on the stage as far as I was concerned was Ranger Doug.  He played some of the most wonderful Western rhythms right in front of me, and I was in heaven.  And then he'd open his mouth and what a range, what richness on the low notes, and what a skillful yodeler!  He was the guy I was watching most of the time, even when Woody and Joey got into a slap contest or Woody and Too Slim got into a logic contest (you can guess who won, and it wasn't the MIT guy).

Anyway, though City Winery didn't really do it for me, I liked the room and loved the music and will definitely go back there again.  Maybe they'll have something on draft next time.

Friday, March 9, 2018

Bobby & Phil, Night 2 in Boston

The storm the night before had been more fierce than forecast, and we woke to a vista of deep snow.  Our friends F&P had made it back to Sudbury the night before, but had lost power soon after going to bed.  There were downed branches and trees everywhere, the heavy snow snapping branches already weakened by earlier winter storms.

Dave was at work on time, but they weren't letting any public into his building, so that was a waste!  He eventually was able to leave and go home to nap and recharge.  Sarah and I got in a full day's work at home (interrupted by shoveling), and were more than ready for another go by the end of the afternoon.

Getting into Boston soon after rush hour is usually a challenge, but was a breeze that March 8th as not many people had been in the city for work that day.  We parked at the same garage under the State Transportation Building and met Dave at Wirth's for another fine dinner (I had a hockey puck burger) and a few beers.  We left his bag back at the car and then sauntered over to the Wang.

I should say something about the scene.  It was a GD show you know, and there were several people trying to sell some t-shirts, hand-made stuff, jewelry, etc.  The sidewalks in front of and across from the Wilbur and Wang on Tremont were jammed with the expected assortment of freaks, many of them with their fingers in the air.  But the "dentist convention" scene was a very dominant presence too.  Inflating and selling balloons of nitrous oxide was the overwhelming business taking place on the sidewalks that day, and we'd just read a very uncomplimentary story about it.  I have no problem with people doing things like making a few bucks by selling drugs or having fun getting high ... absolutely nothing wrong with that!  But we'd just read a bit about how the sausage is made and that can give you a different perspective.  In any case, the scene being so dominated by a particular brand of commercialism was a bit strange.

Another thing about that night was, I'm glad to say, the wonderful people we met.  As mentioned yesterday, the Thursday night show seemed to be the more popular one from the start, and there were some *very* excited people there.  We've been fortunate to see Phil and Bob many times in their different ensembles over the past few years.  But a lot of the people there at the Wang had not had that chance and were overwhelmingly excited to see the duo in a beautiful theater.  None of the people we talked to were from Massachusetts!  They'd all driven long distances (sometimes through the storm) from all over to get to Boston.  The guys in front of us had driven up from Philadelphia that afternoon and had to drive back after the concert so they could get to work in the morning.

Also as mentioned, we couldn't get three tickets together for that night and so Sarah and I were in the back-right of the orchestra for the first set, and then I swapped with Dave for the second set.  That single ticket was in the very middle (left to right and front to back) of the balcony and had better sound but was farther away.  And in both locations, we were packed in and had to suffer with loud neighbors.  But luckily the "loud" part was not them talking about whatever assholes jabber on about at concerts, they were freaking out at seeing the GD and they were singing the songs (though not as well as the guys on stage :)).  We couldn't complain.  People had come from all over to see Bob and Phil and experience the magic, and they weren't about to let this experience go quietly.

Well anyway, we settled into our seats and after a while the curtains opened and there were the old guys again with Wally back on percussion.  And they opened with one of their most classic songs, a song that everyone loves singing along to, and the sound and screams of delight filled the theater.  Here's the first set:

Uncle John's Band
Black-Throated Wind
Cosmic Charlie
Lazy River Road
New Minglewood Blues
Girl From the North Country
Box Of Rain

  • They'd opened with UJB on their first night in New York, so I was a little disappointed that we might have another night of repeats, but how can you be disappointed for long at UJB?  And they sure did not stick to a hackneyed blueprint that night!
  • BTW was an unexpected gem.  John Perry Barlow died recently and this was one of his best lyrics, working with Bob.  It's a song that could be interpreted many different ways, but that ultimately speaks to the desperation of being alone in a modern world.  And Bobby and Phil sure jammed the heck out of this one ... they've played it before.
  • Cosmic Charlie was another surprise.  I'd been hoping they'd do a "Furthur song," and this fills the bill as a song Jerry stopped wanting to play but that those two have always killed and did so when they had their great band.
  • Lazy River Road was another repeat.  I thought it was one of Phil's worst vocals of the Radio City shows and his vocal was not much better in Boston.  It's a neat song though and I was glad they gave it a shot.
  • Minglewood is one of the most classic GD songs, what can I say?  Again, Bobby didn't do this with the brio that I've seen him bring to (e.g.) Fare Thee Well.  But this was a more reserved setting and he *did* manage to drool over the Boston phillies (I think it was them he was drooling over).
  • And of course the jams were the cream filling.  As before, the verses and choruses were fun and people sure were singing along.  But the most magic moments were when Bob and Phil turned towards each other, put on their helmets and moon boots, and took us all to outer space.
  • I'd been telling Sarah the song titles so she could tweet them but the next one was a poser.  It finally dawned on me: one of the most beautiful Dylan songs ever!  Apparently, Phil & Friends have covered this but never any other GD band.  It was about time and this was one of the most amazing vocal performances of the stand by both Bob and Phil.
  • And then they hit those chords for the opening of Box Of Rain and time stood still yet again.  They'd encored with this at the first night in NY, but this was another perfect moment for it.  People throughout the theater were transfixed and I'm sure many tears were shed at the sound of this.  When we got to "... and it's *just* a box of rain," we were all just a puddle of emotion.  This was the kind of shared experience that marks the best of seeing live music.

Wow, time to cool down and get ready for one more set.  Met up with Dave and we took a break outside, where the dentist convention was going full tilt.  Talked some deep Dead with the people out there and we all agreed that that was Larry's guitar on stage again.  I don't think any of us were disappointed at the prospect of seeing him and Teresa rock the second set again.

I thought we had plenty of time and was lazily walking up to the balcony after swapping tickets with Dave when the tuning started and soon the curtains opened!  The set break must have been half as long as it had been the night before.  So I missed the first half of the first song as I was squeezing past people into the middle of the row (they were very nice about it).  And I was kicking myself because the first song was fitting to the anniversary of Pigpen's death:

Jack Straw
Mountains Of the Moon
Mountains Of the Moon
Cumberland Blues
Viola Lee Blues
The Wheel
Morning Dew

  • Phil does a great vocal on Alligator and he filled in with the classic "tear down the Fillmore" back choruses.
  • They'd done Cassidy in New York and gotten *way* out there and I was looking forward to them doing it again, but Larry had his fiddle for this one and it didn't really take off.  Whatever, it's a great song and Larry finally stopped sawing and filled with some great guitar.
  • Jack Straw more than made up for any deficiency.  As with other songs, this wasn't done with the over-the-top enthusiasm you sometimes expect from Bobby.  It was mellow and slow-paced and the duo found echoes in it that hadn't yet been surfaced.  They again did this as a "Furthur song" IMO.
  • Mountains Of the Moon sandwiching Rosemary was Phil at his late-career utmost.  He was getting a little tired by then, but that's to be expected of a guy turning 78 next week!  Mountains is a great song, and I was surprised he didn't get Teresa to sing it with him as we'd seen them do before.
  • But again, there was a slow song and then there was Cumberland, another of the most classic GD songs.  Everyone on stage gave this their all, the crowd was jumping and shouting along, and it was another fantastic set of verses and choruses, wrapping such excellent string work that you couldn't believe it.  Larry had his cittern out for this one.
  • More sawing violin on Viola Lee, but the sound fit much better on this blues.  This was another excuse for the three players to join heads in the middle of the stage and funkify the entire area, with Bob on the screaming sunburst Strat.  Teresa did some sweet harmony too.
  • Time to wake up the crowd again, and they did a classic Wheel that had everyone singing.  I remember Furthur doing this in the Wang and this was perhaps not as excellent, but it was the right medicine at the right time.
  • And then they closed the set with Dew!  This sure had everybody sitting up and paying attention.  And the great thing about it was that Larry was back on acoustic and he played one of the most tasteful lead guitar parts to Dew I've ever heard.  He knew it was Bob and Phil's show and he wasn't about to guitar-God-out on us.  He played with an authority and a technical excellence but did not outshine the fantastic chords Bob was laying down or his fantastic vocal, or Phil's crescendos.

Ack!  The people around me were melting away, on their way back to Philadelphia perhaps, and I was left standing there, watching for Phil and thinking I might never see him in Boston again.  He ran around in back of the amps a bit, but then popped out with a spryness belying his age and gave us another rote donor rap, with a Phil grin.

The guys came back out and lit into another Dylan song, that we'd seen RatDog close with in Boston once, It's All Over Now Baby Blue.  They dragged it out a bit ... knowing they had a few minutes to get to midnight.  But then it was over and they all linked arms at the front of the stage and bowed.  I didn't want to see Bob and Phil go, but soon Bob namasted and left stage right, and then Phil ceased puttering with his amps and walked off stage left.  Good bye guys, hope to see you again soon.  In fact, I'll see the Chicago webcasts this weekend!  Wonder what magic they'll make then.

Made my way outside and met up with Sarah and Dave.  Just a few blocks to the garage and then back home and in bed by 1:00.

Thursday, March 8, 2018

Bobby & Phil, Night 1 in Boston

My latest period of great enjoyment in going to see Grateful Dead music started back in the middle of Furthur's time as a band, and it was so great to see Bob Weir and Phil Lesh together, along with the other members of that fantastic band.  They announced a hiatus from touring in 2014, and then it was announced that Phil was stopping touring for various reasons and soon it was announced that the band had broken up.

We've seen Bob and Phil separately many times since then of course, but the two only played together informally out around their home base of Marin County California (also at the Fare Thee Well concerts in 2015).  Phil has started to make a few exceptions to his "no more touring" edict, though these tours have been very short.  Then they suddenly announced back in December that they'd be playing a short tour as a duo: two nights at Radio City Music Hall, two at the Wang Center in Boston, and then two at the Chicago Theatre.

I think this announcement excited a lot of people besides us.  Many GD fans are past the point of going to see rock concerts (or feel they are!) and so avoid the overhead of (e.g.) a full-blast Dead & Company show with all the craziness of going to an arena, wading through acres of stoned hippies, and then seeing a non-intimate concert with full light show, imagery, and sound.  I can see this, that's the way I felt for years.  But this tour brought the promise of seeing two of the most key original band members in an intimate setting, such as seeing Jorma Kaukonen and Jack Casady do acoustic sets in small theaters (a setting we've seen them in many times) or perhaps a Simon and Garfunkel, but better!

Anyway, the panic of getting tickets as soon as they went on pre-sale was as intense as you might expect.  Sarah went for Wednesday and was able to get three together way up in the right-hand section of the balcony.  I went for Thursday and that one was probably even more popular.  I tried several times to get three tickets together and was denied, so I ended up getting two together in the back-right of the orchestra and then finally was able to get one more in the center of the balcony.  Friends F&P managed to get tickets to Wednesday also, and we were set!

A long winter ensued ... and then finally Wednesday March 7 rolled around and it was time!  There were problems of course: I was in the midst of recovering from an ear infection and there was a damaging Nor'easter expected on the New England coast that day.  Neither of these dampened our enthusiasm.  I picked up Sarah and Dave after work at their building and we drove over to a garage near the Theater District, and met F&P for dinner at Jacob Wirth's (the second oldest restaurant in Boston, and currently on the block but still serving).

Split up with F&P on the cold, rainy sidewalk (the forecast blizzard had not yet appeared) and found our way into the Wang (the whilom Boston Music Hall on Tremont St.), where we got t-shirts and a poster and then climbed to our seats way upstairs.

We'd seen the opening two shows on webcast from Radio City Music Hall and they'd been more than spectacular.  The duo was accompanied by percussionist Wally Ingram on some songs on the opening night, and they brought out no other "special guests."  They didn't need them!  They stuck to early songs (the latest composition was Sailor/Saint), Phil was in fine voice and their harmonies and jams were like being back home.

The phrase "primal Dead" refers to a particular period in their career, but could also be used to describe what they brought to the stage.  We were seeing two of the originals playing, singing, and re-inventing some of the greatest songs I've ever heard, like they were about to go into the studio and lay down a Workingman's Dead or an American Beauty.  Jesse Jarnow wrote a great review of the Radio City shows in Rolling Stone, and the phrase "Thrillingly Loose" was used in the headline, and it was very much my reaction.

For the second night in NYC, they were accompanied by Ingram as before but were also joined by Trey Anastasio on guitar for the second set.  As great as they'd been with just the duo and percussionist, they were amazing with Trey, especially because he was obviously dedicated to supplementing the pair rather than becoming a full band.

Anyway, he'd been rumored as a special guest in NYC and that had happened.  This same rumor mill had it that John Mayer would be the accompanist they brought out in Boston.  We also speculated about others, like Steve Kimock, John Kadlecik, Larry Campbell, Jorma Kaukonen, etc.  They accentuated this drama by tuning up behind a curtain at the start of each set and then having the curtain pull back to reveal their stage arrangement.

So ... there we were in the balcony staring at the beautiful, lofty Wang Center ceilings and walls.  I also checked out the seat from which I'd seen the GD back in '73 of course, and then hung out with F&P while we waited.  Eventually the theater was packed with excited people, we could hear the pair tuning, and then the curtain opened to show us good ol' Bobby with his walrus hair and acoustic guitar, good ol' Phil back in goddamn Boston(!) with his electric bass, and Wally Ingram back on percussion (he could have ditched the wind chimes but whatever).  They blasted right into the beautiful, intricate blues of ... well, here's the first set:

Loose Lucy
Me and My Uncle
When I Paint My Masterpiece
Deep Elem Blues
Bird Song
He's Gone

It's a little sobering to hear the soundboards from the shows and realize that there were a lot more flubs and awkward moments in them than we heard live.  For one thing, we were mesmerized by actually seeing two of the best musicians in the world playing together like a pair of old socks ... they knew exactly what each other was going to do, most of the time.  And for another thing there were so many great moments that the awkward ones seemed part of the live charm.

There were no renditions of the Yellow Dog story (or the Duck story) that night, but there was some extreme playing.  As mentioned, their harmonizing was exquisite (before Phil's voice got tired) and the verses and choruses were great and had everyone singing along.  But then the magic of that part of the song was over and the *real* magic started when they stepped back from the mikes, started watching each other's hands intently, and played measure after measure of liquid gold, jamming to the farthest reaches of the song (while always letting a little of the melody stick around), and then leading us back to the next verse or the bridge or outro.

Bob made some decisions on guitar which were debatable.  He switched to his sunburst Strat with large white pick-guard more often than he might have.  Perhaps he should have stayed on his beautiful acoustic more often or played the "green guitar" that he had on stage but very rarely picked up.  Althea was done in a different style than normal, with Phil taking the lead for most of the song and Bob playing a very funky, effect-laden sequence of chords on his sunburst.  I thought this was one of the best songs of the set actually, while Dave thought it unsuccessful.

But that was another example of the magic we were seeing and hearing.  They had played these songs many, many times before (in fact they'd played every one of these songs in NYC except for Althea and Masterpiece, an unusual number of repeats for a GD band), but they managed to find a freshness in everything they played.  Sometimes this was represented by a new arrangement or a new verse or a new tempo, but sometimes just by a new run here or accent there.  The spirit of adventure that marks Grateful Dead music was thrillingly present.

OK, they'd loosened up, paid homage to the classic cowboy songs and Dylan, then knocked us over with an excellent bluesy Deep Elem, woke us up with an aggressive sound on Althea, gotten *way* out there on Bird Song, and then wrapped up the set with a sad, pretty, sing-along He's Gone.  Yay!!  Short set but we knew they were going to go late.

The set break took forever.  Somebody near me was timing it and announced at one point that the break had now taken longer than the first set.  But we had all seen that there was a setup for another guitarist to Phil's left (Bobby was on his right), and we were guessing and guessing about what we'd see when they opened the curtain.  Dave guessed that that was Larry Campbell's guitar, and he was right.  Here's a picture of the five of them warming up backstage in Boston, taken by Jay Blakesberg:

The curtain opened and there were Larry and Teresa and we were very happy!  Especially when Larry started into that guitar run that I first heard over and over when Blues For Allah first came out, and have thrilled to ever since.  Here's the second set and some notes:

Crazy Fingers
Friend Of the Devil
Tennessee Jed
The Maker
Cryptical Envelopment
The Other One
Mississippi Half-Step Uptown Toodeloo
Black Peter
The Music Never Stopped

  • As good as Larry was he never upstaged Bobby and Phil of course; wonderful player that he is, he knew what he was doing out there, and he allowed Bobby to take over Crazy Fingers between leads.
  • Yeah but ... Larry picked up his mandolin for FOTD and one of the highlights of the night was his sparkling leads on that.  Bobby was hiding out in a cave up in the hills and Phil was singing about the devil offering him $20, but Larry was in the background dropping jaws.
  • And then Larry went back to his dirty electric for Tennessee Jed and tried to take over the song he'd won a Grammy with when working with Levon Helm.  But Bob and Phil know how to react to a musical challenge and soon they were leading him back to Tennessee.
  • Teresa was also a great accompanist, staying still in the background most of the time, and then approaching her mike at the just the right moment, while watching Bob intently.  He wasn't about to shake her, she was right with him.  Their duo vocals on The Maker (the Daniel Lanois song which JGB did) were exquisite.
  • And then they started into a short Cryptical and Dave let out a yelp because we knew what was coming next.  Soon Phil got louder and louder and started booming and then...
  • The Other One!  Bob was a little reserved on vocals compared to some of the times we've seen him recently and didn't nail these verses the way he sometimes has.  But the guitar and bass work was awesome.
  • Their lack of recent practice showed in their inability to segue between some of the songs when they wanted to.  But we were fine with the full stops, especially when followed by a song like Half-Step!
  • And then a song I knew they were going to play.  I've gone on about my opinions of Black Peter (very high) and I knew Bobby was going to sing it to me again (which he can't do well) and it was fun.  But I took a piss break here, though I didn't run into the same guys in the bathroom that I had at this juncture in April 2012
  • And then they capped it off with Music, a surprising but delightful choice!  The whole song was excellent but the enduring moment for me was when Teresa sang meekly behind Bob on the first bridge, and then on the second one he seemed to expect the same and she was having none of it.  She stepped up to the mike and told us all in no uncertain terms at top Teresa volume to keep on dancing until daybreak, and to greet the morning air with song.  Bob looked over at her, startled, and then he just shrugged and let her go!

Woohoo!  It was almost midnight and we started getting our coats on so we could leave quickly and get Dave to a Red Line stop for the last train to Quincy.  Short break here, and then tall, thin, and stooping a bit Phil Lesh came out and the crowd roared.  We were so glad to have him back in Boston in good health, playing his bass like he always had.  He mentioned how glad he was to be back in Boston, and then went into a short and sweet donor rap.

Bobby and the crew came back out and they launched into Touch Of Grey, another repeat from the New York shows.  We stuck around for a little bit and then took off because we didn't want to strand Dave.  And when we got outside the blizzard had started!  Wet and damaging snow was blowing sideways and we had to duck in and out of the shelter of buildings to make it back to the parking garage.

We dropped Dave at Park Street and stuck around long enough for him to text us that he'd made the train.  We circled the Common, got onto Storrow through the thick snow blanketing the city streets, and then made it up to 93 North.  The road surface up there was even worse and we crawled all the way back to Woburn through thick piles of snow.  Whatever, we made it back finally and got to bed sometime around 1:30.  Got to do it again tomorrow!

Sunday, January 28, 2018

Plum Island Winter 2018

Did our annual trek up and down the Plum Island beach today.  The weather was really perfect for a winter, beach experience.  The wind was not bad at all, perhaps carrying a hint of Spring but probably not, though not bitter like an early Winter wind.

We parked in the second lot, crossed over the long boardwalk to the beach, and walked South and then North.  A family with three kids who had been eager to beachcomb and brought mesh bags to collect shells were disappointed and beginning to misbehave.  Their bags were empty except for a couple of broken specimens.

The tide was way out and the beach was relatively clean because of low winds.  An exception was balls of grass, which were new to us.  Were they formed by wind or birds?

The sun was trying to break through and it failed, though doing a fine job of producing beautiful light.  I made a video of waves at low tide which is too big to upload here apparently!

We stopped in the Plum Island Grille for lunch afterwards and were amazed at how much we enjoyed it.  Moules frites for Sarah and Caesar salad with anchovies and salmon for me.  We were entertained by Hyde and Jekyll on Yamaha piano and voice.

Thursday, December 21, 2017

More Miss Tess please

I keep an eye on her schedule but didn't realize until the last minute that Miss Tess and the Talkbacks were going to be back in The Burren on a December Wednesday night (we saw her there on a December Thursday night last year).  And this would be the last day of Fall (12/20).

Met Sarah at The Burren after work and had a beer or two with some other GA early-enthusiasts.  The seats in front of the stage were not set up (the room was 75% full at most), but we got good seats in the back.  I have to say that they had grilled tuna on the special list, I ordered it, and it was a beyond-excellent, very large piece of fish.  Black on the outside with some nice spices and just past raw in the center, I can still taste it!

Anyway, harrumph, the beer was cold (Long Trail Limbo IPA) and the show was a lot of fun.  Miss Tess is still playing with basically the same band, the excellent Thomas Bryan Eaton on electric and Sam Zucchini on drums, with a new bass player (James Gascon?).  And she's still playing an outrageously wonderfully rich guitar.  It was a shock to realize that we hadn't seen her for a year.

Miss Tess has written some amazing songs and didn't play many new ones, though she did play a bunch from the last couple of records, including Ride That Train (second in the set), Little Lola, I Can't Help Myself, Do You Want My Love, Take You Break You Shake You, Moonshiner, Raitt's Give It Up Or Let Me Go, and Save Me St. Peter, which is apparently a song about finally getting a parking space on St. Peter Street in JP.

So it was pretty much a repeat of the Miss Tess show and wasn't really crackling, except for some leads by Eaton.  But Sarah and I had a great time and will go to see her again next time she's back in Somerville (or wherever).  Another of those musicians we can't believe is not wildly popular, as agreed to by our fellow enthusiasts.  And I loved the tuna.

Sunday, December 10, 2017

JRAD and HOB Combine Twice

Yikes, time to go see JRAD again!  This would be the last in our recent set of incredible Fall concerts.  Sorry to have this excellent 2017 season end, but how lucky are we anyway?  Gotta appreciate these things.

First snow of the season in Boston and it was 6 inches of wet, heavy stuff that started coming down mid-morning and didn't stop.  We managed to ignore it and headed into the Fenway area on schedule ... then found out on the way that JRAD had just posted that the doors would be opening at 6 instead of 7 to deal with the storm.  Could be that this was actually more a response to Friday's slow, slow, slow security situation, which many people were complaining about on social media, than to the storm.  People were complaining about inappropriate touching and there seems to be a rash of that lately.

We were early as always, but what this change of times meant to us was that we'd better eat dinner fast (we had 5:30 reservations at the HOB Restaurant and were on time) just in case people entering at 6 snagged our spot!  The beer was cold, but they really don't do "food" well at the "HOB Restaurant."  Oh well, the reason we go there is to get something in our stomachs and most of all, to be more assured of getting in early.  We split up the tickets and Sarah and Dave grabbed the receipt and headed for the doors, with me not far behind.  When I got there there was no line, and the search wasn't quite as extensive as it had been Friday.

So what this meant was that we had 90 minutes or so to cool our heels in our preferred corner.  The merch table was exactly as it was yesterday ... nothing new there.  But again, the beer was cold and the crowd really filled in quickly.  As I say, the great majority of the people there were not going to miss a minute of this, snow be damned.  The HOB was pretty packed by 8 and the guys came out a few minutes after that.

In some ways this was a very different concert from Friday.  Friday events everywhere to our experience, and particularly in the Fenway area, are frantic, crowded, and wild.  This Saturday (maybe because a few people opted to stay home?) was much more mellow, less crowded (we had room to dance all night), and developed at a more mature pace.

Here's Costello again:

Costello here. Here's what I think I heard:
Show #135
House Of Blues
Boston, MA
Night Two of Two
Set One (8:09pm - 9:19pm)
Promised Land >
Shakedown Street @ ->
Jam # ->
The Other One $ >
Viola Lee Blues % >
Cats Under The Stars ^
One More Saturday Night
Set Two (9:53pm - 12:01am)
Feel Like A Stranger & ->
Franklin’s Tower >
Dancing In The Streets * >
Eyes Of The World + ->
Jam @@ ->
Let It Grow ## >
Standing On The Moon $$>
Truckin' ->
Music Never Stopped Jam -
Truckin’ Reprise ->
Born Cross Eyed Jam
GDTRFB %% > WBYGN (Instrumental)
@ - Unfinished
# - With a “Love Supreme” (John Coltrane)
$ - With a Playin Tease (Band)
% - With a Throwin Stones Tease (Band), a China Cat Tease (TH), a DD/MB Duo Jam, with TH on Drums, & a “Shortnin’ Bread” (James Whitcomb Riley) Tease (MB)
^ - With a “Walk Like An Egyptian” (The Bangles) tease (MB), a China Cat Tease (SM), a “Don’t Stop Til You Get Enough” (Michael Jackson) Tease (SM) & a “St. Thomas” (Sonny Rollins) Tease (SM)
& - With an Immigrant Song” (Led Zeppelin) Tease, a “Tom’s Diner” (Suzanne Vega) Tease (SM) and a Slipknot! Tease (Band)
* - With a DD Bass Solo, “Tell Me A Bedtime Story” (Herbie Hancock) Jam (MB) & Eyes Teases (Band)
+ - “Flipped” Version - Started with the “’73 Ending” Changes played in the key of Dancin’, and a DD Bass Solo
@@ - With a “Fly Like An Eagle” (Steve Miller) Tease (MB)
## - With an “Amazing Grace” (Traditional) Tease (TH), an “If You Think I’m Sexy” (Rod Stewart) // “My Prerogative” (Bobby Brown) Jam that included audience vocals, and a Slipknot! Tease (Band)
$$ - Not played since Brooklyn Bowl, Brooklyn, NY, 2015-10-2, a gap of 88 shows
%% - With a Not Fade Away Tease (Band)
Pre Show Music: Costello’s Spotify Petty Mix:
Set Break Music: Metzger’s Spotify Early Rock N Roll Mix
Walk Out Music: Man in the Mirror / Thriller (Michael Jackson)
Poster: Colortest
Thanks to the House of Blues Boston staff & crew for improving tonight's entry process for our fans. Our deepest gratitude to everyone that came out & supported the band in 2017. We'll see you all in 2018.
  • Everyone was playing as excellently as they had the night before.  In fact, I could repeat many observations from yesterday, such as Joe's great positioning, Dave's absolute funk (he and Marco did a duo jam, and I wouldn't have been surprised to hear him solo), and the absolutely stellar sound.
  • Tommy was back to his regular guitar, no Wolf, and shockingly he did not have a scarf on.  He seemed almost naked without it!  But you'll be glad to hear that he was wearing a scally cap and a dorky cardigan sweater.
  • The Dave jam at the end of Eyes definitely included "O Christmas Tree," which was taken over by Marco.  Maybe Marco did a little Fly Like An Eagle later, but ...
  • In the Truckin' outro they seemed to consider going into TOO, but realized they'd done that tune already and it was time to end the night.  Joe had a few things to say though, and after introducing the band he thanked us at length for a fucking great 2017.  Well Joe, the feeling's mutual!
Short post today compared to yesterday, but we were no less delighted.  And part of our delight with JRAD is that there seems to be no shortage of people who are as gobsmacked with them as we are.  I mean, they sold out two nights in the huge HOB in two seconds!  To hear these guys play, and to get the chance to see them live from so close in such a great room is awesome.  I already can't wait for their upcoming three-show stand at the Cap in January, which I assume will be webcast.

Saturday, December 9, 2017

JRAD and HOB Combine Once

My last few posts have referenced how lucky we're been in Boston lately to get such a richness of great musical acts.  Hope this continues to happen every Fall, maybe one of these days I'll be more ready for it and not feel so rushed!  But fuck feeling rushed, these are all can't misses, and I mean me can't miss, not them.  Hope you could follow that.

Anyway, goddamn JRAD was making a two-show visit to the House of Blues (12/8-9) and of course we got tickets to both as soon as they went on sale ... and they sold out pretty quickly.  As discussed before, though this might nominally and by evidence be a "tribute band," they are much, much more than that characterization indicates, and in fact are one of the best bands around to my ear.  And I love the HOB and feel that JRAD is perfect for it.

Left work even earlier than normal and was able to get into Boston before Friday rush hour got really crazy. Down Soldiers Field Road in the December gloaming and up over the newly reconstructed but same old Bowker Interchange.  Our parking lot on the corner of Van Ness was still in "day" mode and wasn't ready to let me in (commuters still to leave), but I was able to get a street space on Van Ness and hurry over to the HOB restaurant, where we hadn't been able to make reservations.  What do you know?  I was afraid they'd be having a private party but they were pretty empty and were more than eager to give just me a table for 4, where I spread out, had a beer or two, and waited for Sarah, Dave, and Leen, who all got there pretty soon it seemed.

Ate what turned out to be a fast dinner, fed the meter again and dumped stuff in the car, then waited in the "entree" line to get in.  We four were maybe 20th in line to get in, which was great ... and as expected the entree line soon stretched pretty far and the regular line soon stretched *way* up the street.

And though I'd said that the recent Hartford Civic Center search-to-get-in was extreme, this was even more so!  It took about 5 minutes for the guy to wand me, to pat me, to ask what's in that pocket, what's in that pocket, "can you show me sir?," to insist that I discard the two ibuprofens in my pocket, and to apparently give me a psychological evaluation.  The guy asked a few questions (luckily I can recite pi to the 14th digit), looked me in the eyes, and seemed to be making a mental assessment that I hope went well.  I thought maybe he was going to kiss me just to make the experience more meaningful for both of us, but he finally waved me on and it took me a minute to get my things back in my pockets and my mind back in its compartment ... hope my clothes were on straight!  I guess having just smoked a hit of pot (perfectly legal) might have made this less smooth than it might have been, but maybe not!  And there was a LONG line behind us ... if they did this to everyone it would take all night for the show to get started.

Oh well, Dave and the girls had gotten through before me and Dave waited for me while the girls grabbed our spot.  Took me a while to get my extremities warm again after the wait outside and the search-that-took-forever, but we had a while to hang out (as predicted).  Time passed quickly though, and we soon had checked out the merch table, gotten beers, and all that pre-show stuff while the HOB got packed the way it does.  Leen seemed excited about our great perch, the amazing sight lines from there, and the fact that the HOB just seems like a really big league rock club.

Eventually the room got to around 87.6% capacity (my guess) and the guys straggled on stage at 8:20 or so, not too bad.  They were lined up as they always were, but Joe's kit was not at all in the back, like the classic drummer's position, it was almost at the front of center stage.  Not as big a kit as he used to carry around a few years ago, but on the other hand not as compact as some times we're seen him.  In particular he had twin toms to his right that were a little luxuriant but were used/needed when he took one of his excursions and whacked everything in sight, repeatedly.

Another observation was that Marco had a grand fucking piano, and he sure used this to great effect.  Though we were close, we couldn't see Marco's fingering at all because of the grand pointing right towards us, but we sure could hear him and that excellent instrument.  He was captivating last night, as he always is, but there were times when I and everyone in the vicinity was watching him like a hawk, and he was watching us right back, smiling, waving, and laughing.

Two more things: because Joe was so far forward it forced Dave and Scott way over to the right, but the sight lines and the sound at the HOB are so great that we were still able to catch every move they made and every string they strung.  What a band!  And oh yeah, when Tom came out on stage he had a certain tiger-striped, blond guitar that looked like a 70s version of a very cool spaceship.  He was fucking playing Jerry's Wolf guitar all night long and there were certain stretches when I (and everyone in vicinity) were just staring at Wolf, being played like Jerry would if he were alive today.  Especially at the close of the second set ... spoiler alert.

Wow!  We were ready when they came on stage and they started off with a country rocker that got us all into that certain place.  Here's Costello's play by play:

Good evening internet, its Costello, with the #BoxScore from Boston, Night One:
Show #134
House of Blues Boston
Boston, MA
Night One of Two
Set One (8:20pm - 9:43PM)
Big Railroad Blues ->
Silvio >
Loser ->
Jam ->
Easy Wind @ ->
Jam # ->
Row Jimmy ->
St. Stephen ->
Jam ->
St. Stephen Reprise >
Samson & Delilah
Set Two (10:13pm - 11:50PM)
Jam ->
Dark Hollow >
Mr Charlie $ >
Help On The Way ->
Slipknot! % >
Mississippi Half Step >
Estimated Prophet >
Morning Dew
Greatest Story Ever Told ^
TH played "Wolf" for the whole show.
@ - “Flipped” Version - Opened with the last verse sung first.
# - With Let It Grow Teases (TH)
$ - With a “Moby Dick” (Led Zeppelin) Jam
% - With Let It Grow Teases (TH then Band)
^ - With The Wheel Teases (Band)
Pre Show Music: Scott Metzger’s Spotify Xmas Mix
Set Break Music: Costello’s Spotify Motown Mix
Post Show Music: Dirty Water (Boston You’re My Home) - The Standells and Pancho & Lefty - Townes Van Zandt
Poster: Colortest
Thanks to the staff & crew at HOB Boston, to all of you that came out or caught a stream. What's everyone doing tomorrow night? Shall we do it again? Cool, see you there...

Oh jeez, what can I say about this?  This was our fifth time seeing JRAD live and we feel we've seen then a lot more because they webcast so many shows.  When we'd seen them before at HOB, which they just rocked like their own personal spaceship, Joe had been a little subdued.  But he was sure not subdued last night, especially with that extra tom when he wanted to go over the top.  With him being up front we had such a great view, except the largest cymbal was in my way, which was fine ... when he really banged it I could see him better.

Marco the wizard with a grand piano and all his tricks, Tom with Wolf, and Scott with his unique funk were all fantastic, but Dave Dreiwitz was the man!  His hair was wild and reflecting those HOB waves, and his bass playing was astonishing.  Oteil me no Oteils, this was country and funk and rock ... and almost like Phil when it needed to be.  We think he switched from a Fender to a wooden old four-string with big head in the second set.  But whatever, he was laying down the foundation for everybody and taking a lead when it was called for.  He's been doing solos recently, but didn't do one last night, he was just all there.

I remember hearing the first hints of Silvio and thinking, "Silvio?"  I remember hearing Easy Wind and then not recognizing it because they sang the verses out of order ... though we were all there when Scott told us that he had to find a woman be good to him.  St. Stephen was incredible ... what is it about Boston and St. Stephen?  As with a lot of songs they play, they got way, way, way out with St. Stephen and I was hoping they'd go into the Eleven, when they roped it back in like a psychedelic bronco, but then they went into an excellent reprise and then Joe played us Samson.  I hope they put some extra reinforcement under that stage because he sure pounded it out for an ecstatic audience.

The surprise of the night for me was a Dark Hollow beyond description ... loping and folky and whimsical on the one hand and dyed in psychedelia on the other.  This may have been the longest Dark Hollow ever played.  Help was amazing, an exercise in power chords.  Joe playing Slipknot! was what we were drooling to hear.  Halfstep just picked up where Row Jimmy had laid off in the first set ... this is the sweet spot of GD music to me.

Then a fantastic Estimated, with the audience singing along to every word.  I should stop for a minute and say that the audience was 90% Deadicated and was hanging on every note.  But it was a Friday night and there were dates going on, and people getting high, and friends running into each other, and at times the audience got a little noisy.  At one point during Estimated a guy off to my left turned around and said, "Shut the fuck up!"  That's what *I* said to the HOB crowd when we saw DSO there a few years ago, and I was instantly mortified I'd done that (even though people were talking over Stella Blue!).  This guy was mortified too and you could tell he wanted to just disappear after shouting that out.  But he was correct to do so, and amazingly, people shut up and listened to the end of Estimated.

And then ... Dew with Tommy playing Wolf.  Morning Dew can captivate you and take you into the picture of the song like few songs can when they're played at their utmost.  Everyone in the room knew that Tommy was playing Wolf and he proceeded to paint us the whole goddamn picture ... the tone was amazing.  And the denouement of the scene he painted was perhaps not perfect (Joe and Tommy got a little crossed up), but we were all there man, just reveling in the sound, and it really didn't matter anyway.

OMG, I realized that I was exhausted and though back pain during the show was not as bad as I'd anticipated, it was still pretty extreme.  I thought for the umpteenth time that I wished I'd swallowed those Vitamin Is before the guy made me throw them away!  And as happens in the HOB, the crowd had filled in at our backs and sides during the show and we were under severe pushed-and-shoved duress in our little corner.  Whatever, the atmosphere was beyond electric and soon the guys straggled back on stage.

And the encore was not a throw-away, it might have been one of the best songs of the night!  I love GSET and was delighted this Fall when Dead & Company covered it.  But these guys know a thing or two about covering Dead music and they've got Scott Fucking Metzger on their team ... as well as Dave Fucking Dreiwitz, who capped off an excellent night.  Fans screamed for a second encore, but the guys were done.  See you tomorrow night, Joe told us!  Aye captain.

Sunday, December 3, 2017

Tedeschi Trucks Band Boston 2017

Another in our late-Fall run of excellent concerts, Tedeschi Trucks Band again at the Orpheum (12/2)!  One may recall last year's excellent show with Jorma opening solo, for which we had front row center seats.  This year we opted for the third night of their run, at which they'd be doing two full sets with no opener.  This Saturday was the last show of a full 2017 of touring, and they left it all on the stage!

Tried to go to 6B on Beacon but it wasn't open and so went to Carrie Nation across the street for dinner.  Kind of pricey but a very nice room; the really expensive half-chicken with brussels sprouts and whipped potatoes was wonderful, but I hope they stick that leg I couldn't eat back on the chicken.

This was a fantastic concert from this amazing 12-piece band, just pure ecstasy from start to finish.  But (and I'll try to keep this short), the Orpheum in Boston is not a good place to expect people to see concerts.  It's cramped and small and the attendants are surly (one asked me at one point, "Sir, weren't you ALREADY seated?").  The one low-ceilinged lobby and the one small, smelly mens room off of it are masses of people bumping into each other before the show, at the break, and after the show.  People could get trampled easily, or get germs.

Also, they don't know whether they're a theater or a rock club.  They have stacks of speakers on stage and that means that many of the audience can't fucking see what's going on on stage!  We were far right (though close, 8th row) and only one of us could see any of the backup singers, and none of us could see Alicia Shakour (though we sure heard her) or the trombone player.  And there was even another section to our right!  Those people probably could only see the guitarists and Kofi Burbridge, they couldn't even see the drummers.  And they charged full price for this!?!

I hope that TTB comes to their senses and plays some other hall next year.  I think the Orpheum has very good sound (we had no complaints about volume yesterday!), but is a horrible venue.  Oh, one other thing: it's at the end of an alley in downtown Boston you know, and concert goers were trying to walk down it towards the security check and the doors.  We were all being mature and orderly but they had muscle out there shouting at us and almost shoving us into lines that made no sense.  Guess they believe in full employment, but I hate to think that my ticket price went towards these assholes.

But I need to stop bitching and start gushing.  This concert was fantastic, though we were cramped, packed, and prodded.  Derek Trucks was as on fire as much I've ever seen him, and his band was perfectly in step behind him.  There were excellent additions from Burbridge on keys and flute, from Mike Mattison stepping up to take a few leads, and from Tim Lefebvre on bass, who just needed a small nod from Trucks and then turned it up and set our world upside down (he almost lost his man-bun from rocking so thoroughly).

And that's not to mention Susan Tedeschi, who was absolutely stellar on vocals and played a fantastic rhythm.  Another great performance was the drumming of J.J. Johnson and Tyler Greenwell ... who seemed to be wearing out a snare with each song.  And my dog what a brass section, including the craziest, spaciest bass saxophone solo from Kebbi Williams early on and just rock solid grooves from Ephraim Owens on trumpet (he later did a solo himself with a mute, and then discarded it like a frisbee) and Elizabeth Lea on trombone.

The one backup vocalist I could see (besides when Mike came down front) was Mark Rivers and his support of Susan's alto was surreal.  And of course there was Alicia, who has the power to take over a song on a moment's notice ... at a couple of points Susan turned and said, "Yeah Alicia!" and we wish we could have seen her.

And there was a musical theme to this evening to my ear, which was space.  Over and over they'd start a song and get deeply into it and then Derek would turn it up and up and start wandering, and that amazing band would follow him into the most psychedelic corners and before long you had no idea what they were playing, though they were harmonizing and playing off each other and working as hard as they could to produce an awesome sound.  Very rarely did any of them, even the horn players, sit out for more than a few measures.  And then Derek would turn that farthest corner and come back to the theme and then Tim would rip off a run and then Susan would step to the mike and absolutely SCREAM the next verse, with the backup vocalists punching up her every syllable.  This was the most riveting stuff you could imagine, 12 people in each others minds just pouring out the rhythm and blues all over the floor, led by one of the best guitar players you've ever heard.

Well ... here's the setlist as far as I can tell.  I've pieced this together and it may have a few errors but you get the point:

set 1
In Every Heart
Don't Know What It Means
Keep On Growing
Learn How to Love
Don't Drift Away
Get What You Deserve
Don't Think Twice, It's All Right
I Want More

set 2
Statesboro Blues
Crying Over You
Part of Me
Let Me Get By
Comin' Home
Let's Go Get Stoned
Made Up Mind
I Pity the Fool
The Storm > Whipping Post

A Song for You
Will the Circle Be Unbroken?
Bound for Glory

Sandwiching the second set with Allman Brothers songs was brilliant!  As mentioned, this was a night of the powerful space blues and to commence the latter part of the night with the singalong of Statesboro Blues, to wind up and down through some of the spaciest songs they know, and then to finally come out of it a few(?) hours later and realize they were playing Whipping Post and that even Susan sometimes felt like she was tied to it and that she was going to scream about it to us for sure with the whole weird theater screaming along was cathartic to say the least.

One more note on the crowd ambiance:  At one point between sets I was pushing slowly through the mob in the lobby, not even sure where I was going or why (that is, I had no idea where the ends of the beer lines were or where they led).  But the guy behind me was having an even worse time.  "O God, oh no, oh this is terrible," he repeated over and over.  I turned around and told him, "Don't worry, we'll get there."  He looked startled and said, "Oh you don't understand.  I was complaining about the number of Phish t-shirts."

For the encore Susan and Kofi duetted on Leon Redbone's greatest(?) hit, and this was an incredible showcase, great piano.  And then their beautiful take on Circle, and then one of their most trademark songs to end the night.  WOW!!!

Jeez, time to tackle the lobby and the alley again, but we finally got out of there and made our way up Park Street (the church was totally wrapped in scaffolding except for the tallest bit of their steeple).

We had a little energy and space for wonder left, and so detoured towards the Nova Scotia Christmas tree that had just been dedicated.  This was the 100th anniversary edition ... please catch up on the story if you're not aware.  We circled the tree and touched its tresses, both where it grew free and where the lights had snagged it.  It rose over our heads and dwarfed us, silly Boston people who cared about what happened in Halifax and everywhere in the world.  That's what it's meant to do, and why Nova Scotia makes a point of this.

Goodbye to the tree and over the hill, and back to the car and then home.  Hoo boy, I'd go see TTB anywhere, just don't tell them that!

Friday, December 1, 2017

Hot Tuna Acoustic Back At the Wilbur

In yesterday's post I described how we were suddenly in the midst of a run of shows (and sickness), and not to be overlooked in this was the fact that Hot Tuna were going to be playing the Wilbur again!  Their last time there they'd played electric, which I love, but this time they announced that they'd be acoustic and that's pretty good too. :)

Again, we weren't on top of our game.  There was also something going on in the theater district that night and all restaurants around there were booked up.  But we headed in to the nearby garage on Charles so we wouldn't have far to walk and were able to get a table at Rock Bottom on Stuart, though we had to wait a bit.

There were kids all over the place and we finally figured it out.  "Elf the Musical" had just opened in Boston and that was the huge event in the area that night.  The Color Purple was also being staged that night at the Schubert, and Dave's roommate (and her cousin) were going to that.

Oh well, we got across Tremont in the swirl of people and were waved into the Wilbur with other Hot Tuna enthusiasts ... this was the real stuff.  F&P (recently back from Nepal!) also attended and had managed to snag seats just behind us, in the second and third rows of the mezzanine, right on the left row of the center section, fantastic seats!

After a small beer and much talk about Nepal and events at 18,000 feet, the guys came out and there they were: Jack and Jorma.  I believe this was sold out, I saw no empty seats, and several people in the audience were hooting and hollering and yelling out "Fucking HOT TUNA!!!" all night long.

Spectacle-less Jack was sitting in the kind of chair you might find in the office, a swivel black-mesh chair with a broad back and casters.  But he was perched on the edge of it, rather than sitting back, holding an acoustic bass that was almost as big as he was.  This six-string bass was huge and had a sound hole at top right, with a little mike snapped on above it to relay to his amp setup on stage.  Jorma was in a low chair as usual, leaned over his gut-string guitar like he did NOT want it to escape his bear hug.  His chair was triangular, two legs in back and one in front.  His steel string was in a stand next to him, but we knew he wasn't going to pick up that one until the time was right.

Sorry that I can't remember everything they played.  They concentrated on Jorma's more folky compositions and played them excellently.  They're such a perfect pairing, they've been playing together for over 55 years, and their sounds flow seamlessly into each other.  It almost didn't matter what they were playing, they could be playing anything and you'd still hear that magic of one instrument being played by two people on different sets of strings, sitting in separate chairs.

Here are a few songs they played which got big reactions: Serpent of Dreams, Sea Child, Come Back Baby, 99 Year Blues, Barbecue King, How Long Blues, San Francisco Bay Blues, Keep Your Lamp Trimmed and Burning, etc.  They took a break somewhere in there, but not a long one.

Then finally, the time was right.  Jorma put down his gut string and picked up his steel string and we knew we were nearing the end of the night and what they were going to close with.  It's hard to choose between Jorma's finest songs, some of his compositions are just head and shoulders over everything else, such as Sea Child, which they'd done second(?).  But two others are what he seems to close with every time we've seen him recently, and are played on the ringing steel strings: Bar Room Crystal Ball and Water Song.

Even the leather-lungs in the balcony were silenced by Bar Room Crystal Ball, which is such a signature song of Jorma's, touching on life, addiction, and meaning in the subtle ways his best songs do.  And of course hearing Hot Tuna play Water Song live is almost like hearing the Sermon On the Mount ... well maybe not really, but that's what we were all there for and besides the sound of the two guitars on stage you could have heard a pin drop.  I can't say Jack's bass made the theater echo, but instead it filled it perfectly.  This was excellent stuff, and I can't wait to hear those two play it again.

This time Jorma didn't even get out of his chair for the encore break, and Jack didn't either; he just grinned like the Cheshire Cat, beaming his smile throughout the audience.  It was clear this was the end though and Jorma finally said well, we'll do one more for an encore.  And then he lit into Embryonic Journey.  This is another of his top-shelf songs and I don't think I'd ever heard him play this before, though he first recorded it with the Airplane in the sixties.  This topped off the night like you wouldn't believe!

Two old guys stood up and smiled, then waved and left the stage.  Geez, we'd just heard some of the best music that's ever existed (in my world at least) played by two masters.  How could you beat that?

We were all very worn out by that point, not only us sickies but also trekkers F&P.  Luckily, we had all parked pretty close and when we got out to the street the other events were not letting out so we had smooth walks back to our cars.  Dave picked up the pack he had stashed at the car and then went to meet his roommate after The Color Purple.  Sarah and I drove slowly out of the garage and then down Charles, onto Storrow, under the still sparking pedestrian bridge, and back North.  Not to bed that late!

Thursday, November 30, 2017

David Rawlings and Friends at the Wilbur

As sometimes happens, we had a dearth of concerts towards the end of the summer/early Fall, and then late Fall comes around and wham, there seems to be a concert every minute!  Dead & Company are on tour of course, and besides seeing three of the shows, we've subscribed to the tour on webcast and so have been watching and/or listening to a bunch of them live or next-day.  And then ...

Gillian Welch and David Rawlings announced a stop in Boston (touring under "David Rawlings" this time) and we just had to go see that, at the Wilbur on Wednesday 11/29.  I've gone on before how their music is exactly to my taste.  It's amazing how right it sounds to me.  And this tine they were again accompanied by Brittany Haas, Paul Kowert, and Willie Watson, a super-group of impossible dimensions.

And as has happened before (stop me if I'm repeating myself), we were suffering from late Fall cold/flu bugs and, even if just a little bit, considered skipping the shows.  I even offered the tickets to Kate, but she couldn't make it.  And that turned out to be fine because we sucked it up and headed into the city, determined to at least catch the first set or die in the attempt.  We played it a little smart and parked in a very close-by garage on Charles Street before limping into Wirth's, in the middle of massive construction of course, and having a quick dinner.

We got over to the Wilbur a bit after 7 but the doors hadn't opened yet.  The people waiting were milling about the lobby and we milled too after picking up our will-call tickets, and then were some of the first in.  Several of us immediately crowded up to the stage ... and by "several" I mean several.  Though those of us there were totally psyched, there weren't that many of us.  I'm past being shocked that Welch and Rawlings with some of the best accompanists ever (I mean, have you heard Willie Watson's recent release?) are not as much of a draw as Beethoven, or even DSO.  But whatever!  By the time the show got started the place was pretty full, except for the top balcony, which had more empty than full seats.

So we were right in front of David and Brittany; they lined up as before: Hass, Rawlings, Welch, and Watson from left to right with Kowert in the second row.  As I say, those of us who were there were wildly enthusiastic and the band was full of smiles.  David (native of Pawtucket RI) had his parents in the crowd and of course Rawlings and Welch are Berklee products, so this was a home crowd.

Wish I could remember the setlist (or that it was transcribed online) but no such luck at this point.  Here's what I remember, including opening with Money Is the Meat In the Coconut and doing almost everything on David's new record:

Money Is the Meat In the Coconut
Come On Over My House
Wayside/Back In Time
Midnight Train
To Be Young (Is To Be Sad, Is To Be High)
Cumberland Gap
Keep It Clean (sung by Watson)
It's Too Easy
Good God a Woman
Short Haired Woman Blues
If I Had My Way (sung by Watson)
He Will Set Your Fields On Fire
I Hear Them All/This Land Is Your Land
Put 'Em Up Solid
Guitar Man
Pilgrim (You Can't Go Home Again)
The Weekend
Look At Miss Ohio
Method Acting/Cortez the Killer
Going Down the Road Feelin' Bad
Didn't Leave Nobody But the Baby

There was a set break in there and a short encore break.  Highlights were numerous!
  • Money was started, as on the record, by Gil on the hambone.  Amazing that a woman that thin can make those sounds without beating herself black and blue!  She and Brittany had beautiful complementary outfits, including long skirts from the same pattern cloth.
  • Wayside/Back In Time is one of my favorites and everyone around us seemed to feel the same way ... we were gushing over that one at the set break.
  • To Be Young had us all singing along and was as "high" as I've ever heard it.  And to be clear, I was 6 feet away from David while he did his magic on his hollow-body electric and his traditional magic guitar ... the one he plays like he sold his soul to the devil (and then his wife bashed some heads, Yup).
  • Cumberland Gap just knocked us all over and then they stopped it, they'd just summed it all up in less than 2 minutes and we wanted more!  I asked David to play it again and he laughed.
  • This Land Is Your Land was an epic folk sing-along of course, with the whole Wilbur rocking to Woody Guthrie's old words while we all nodded along to the fact that this land really *is* our fucking land, no matter what anyone pulls off (or not) in the short term.
  • Yup was another favorite, how can you not like this story?
  • Several people called out for The Weekend throughout, and we were all glad when they got around to this.
  • Look At Miss Ohio was the encore opener and got one of the biggest cheers of the night.  I mean, we were watching "David Rawlings" that night and we all loved him but ... Good God, that was a woman named Gillian Welch on the other mike, maybe 12 feet from me.  Gillian's hair is mostly white and she's sporting wrinkles and jowls like a mature person, but she's still the amazing, young, fresh, thrilling musician we all adore.
  • And I have to say something about Haas, Kowert, and Watson.  Britanny was effortlessly brilliant on fiddle, looking almost as frail as Gillian but playing it with the fervor of a Vassar Clements.  Kowert was flawless himself on bass fiddle and low harmonies.  And Watson is quite a force, taking over the mike for a couple of numbers and sometimes grabbing his fiddle and playing duets with Brittany, over at her mike right in front of me.  The iron-jawed guy next to me was captivated by Willie's wandering eye, and I think the attraction may have been mutual.
  • BUT ... perhaps the highlight of highlights was Method Acting/Cortez the Killer in the encore, that had jaws dropped down the line to my left and to my right (as well as mine).  This isn't the most dynamic song and it goes on for a bit, but we wanted it to go longer, it was just a tour de force, rising and falling and rising again until we all almost understood what it was all about.
Ack!  As Sarah said later, while the music was going on we were feeling just fine.  But by the time it was over we were almost ready to collapse.  Luckily it was only a long block back to the car and then a relatively quick drive home, though they're doing something to the pedestrian bridge from Charles Circle to the Esplanade and they tried to shower us with sparks.  Oh well, we survived!