Top 10 Concerts Ever!

Jim DeRogatis is leaving The Chicago Sun-Times and has written a run-down on his 15 favorite concerts in covering music. Inspired by this, I'd like to offer my favorites:

1. Wilco at Stubb's BBQ 9/22/2001 - the first great show I ever saw. Wilco was in Yankee Hotel Foxtrot limbo, and the whole country was in post-9/11 confusion. It was the first time I heard "Ashes of American Flags" and it was incredibly powerful. The band seemed taken aback by the applause for their set and played three encores, closing with a raucous version of "I Got You (At the End of the Century)".
2. Flaming Lips at Madison Square Garden 12/31/2003 - in a special New Years' show Sleater-Kinney opened and Wilco closed, The Flaming Lips stole the show. Dancing people in costumes, great music, unbelievable feeling and thousands of balloons made for an unforgettable night.
3. Fleet Foxes at Somerville Theatre 10/6/2008 - the Pacific Northwest band makes beautiful music, but it's not always the most high energy, so I didn't know what to expect. Live, their music was equally beautiful, with gorgeous harmonies and passionate vocals and playing. The crowd was totally swept up, universally standing in movie theatre setting. Afterwards I turned to my girlfriend, who hadn't spoken a word through the whole set. "Was that one of the best shows you've ever seen?" she asked? It sure was.
4. Art Brut at Middle East 5/16/2006 - the best live act going. I've seen them three times since, and they are always terrific. Eddie Argos works so hard to give everyone their money's worth, and the best part is you can see how much fun he's having the whole time. This was my first experience seeing Art Brut, and I've gone out of my way to see them every time since.
5. Okkervil River at T.T. the Bear's 11/10/2005 - like Fleet Foxes, this Austin-based group can be subdued on record. However, this live show was gripping, with singer / guitarist Will Sheff ripping his guts out on just about every song. The band didn't go on until midnight but still played two hours. In the final encore, Sheff gave the audience the choice between classics "Kansas City" and "The Okkervil River Song" and someone shouted out, "Both!" Sure enough, they played both, sending everyone home happy.
6. Sleater-Kinney at Lupo's Heartbreak Hotel 2/14/2003 - Something has been missing in my life ever since the Olympia, WA-based trio broke up in 2006. I saw them five times; this, the second time I saw them, made my Valentine's Day in 2003 as they tore up one of Providence, RI's best venues.
7. K'Naan / Wale at House of Blues 4/1/2010 - see review here.
8. Mutual Admiration Society at Paradise Rock Club 8/12/2004 - This supergroup consists of the members of the talented Nickel Creek as well as Toad the Wet Sprocket's Glen Phillips. The show was fine until partway through, when rather than all take a break different members would play some of their solo items. We were treated to gems like Chris Thile's "I'm Nowhere and You're Everything," Nickel Creek's ukelele ditty "Anthony," and John Paul Jones playing a solo mandolin version of Led Zeppelin's "Going to California." Yes, that John Paul Jones. After that, the band had the crowd eating out of the palm of its hand.
9. Phoenix at Austin City Limits 10/2/2009 - see review here.
10. Kanye West at Ryan Center 10/26/2005 - I might have been the oldest person at the rapper's show on URI's campus, but there couldn't have been too many folks having more fun than me. The music was powerful and Kanye showed a charisma not always present on record, killing it for one of the most energetic crowds I've ever seen.

K'Naan - Troubadour

Rating: B+

I've written a lot about K'Naan of late. I was blown away when I saw him at House of Blues early last month. I noted his interview with Greg Kot (and he was also just on Kot and Jim DeRogatis' radio program Sound Opinions. And I was first introduced to him back at Austin City Limits. Still, I've been known to enjoy bands live better than I did on disc - recent efforts by Deer Tick, Le Loup, and Arctic Monkeys all fall into this category. In the final analysis, that's how I feel about Troubadour also; it's a fine album, but lacks the raw emotion of his live performance.

I can't fault him too much for that. The a cappella version of "Somalia," for instance, wouldn't translate as well to disc. K'Naan's extended descriptions of life in Mogadishu and his childhood wouldn't translate as well on disc. What they do, and maybe the slight edge that the disc lacks, is provide authenticity. K'Naan isn't Ice Cube rapping about shooting cops; he's talking about his real life, real danger from warlords, and a real fondness for his homeland despite all of its problems. Hip-hop is both blessed and cursed with an air of authenticity; Ice T's "Cop Killer" is taken much more literally than the downtrodden prisoner of Johnny Cash's "Folsom Prison Blues." The songs on Troubadour, however, are truth. On CD that sincerity can be glossed over, but live it's impossible to ignore.

I just equated K'Naan with hip-hop / rap, and that's not totally fair. Troubadour is an eclectic album, drawing from hip-hop but also Somali poetry, folk, reggae, and even rock and heavy metal. Most of the time this is interesting: "Take a Minute" as a subdued folk track, the boisterous "T.I.A." and the poppy "Fatima," the jumping "A.B.C.'s and the anthemic "Wavin' Flag," maybe the most inspiring piece of music released since Kanye West's "Jesus Walks." At times it falls flat, particularly towards the end of the album, where the reggae-tinged "Fire in Freetown," ode to Western Union "15 Minutes Away" and sleepy "People Like Me" drag things down considerably.

All in all, Troubadour is a strong album from a compelling voice in music. K'Naan's music is true, fearless, and he's an important figure to watch in hip-hop.

Buy it from Amazon:
Troubadour
K'Naan Official Site

More Fun With K'Naan

On the heels of K'Naan's excellent show in Boston, Greg Kot interviews the troubadour for the Chicago Tribune.

Live Review - 4/1/2010 K'Naan / Wale at The House of Blues

Five or six years ago, I had a revelation about hip-hop music. Two events led to this epiphany. One, I happened to be in the UK on business with a fair amount of free time, and I saw an episode of a show called "Chancers." It was a reality show involving underground hip-hop acts who won a contest and were assembled into a reality super-group. There were a couple R&B-type singers, male and female MCs, a producer or two, a DJ, etc., and they were assembling a mix tape for distribution in the US. A couple of the MCs participated in a freestyle contest. It made me think about rap as more a grassroots effort.

That wouldn't have stuck with me too much except for a connection I made with the liner notes to Bob Dylan's Bootleg Series Volume 4: Live 1966, his famous "Royal Albert Hall" concert (which was in fact in Manchester) - this was the concert when Dylan plugged in to the increasing chagrin of the audience, culminating in someone yelling "Judas," attacking Dylan's perceived betrayal of the folk scene. In the liner notes, Dylan explains that he never thought of himself as a folk musician, but when he arrived on the scene in New York in his early 20's with little money, crashing on people's couches, he didn't have the money to get a full band together. But playing a guitar and a harmonica and singing - that he could do on the cheap.

This got me thinking about where a young Bob Dylan would be today, and I thought back to that episode of "Chancers" and the freestyle jams at underground hip-hop venues. They didn't even need guitars! Just lyrical wit, rhythm, talent, and a dream. Just as folk let Dylan jump from sleepy Hibbing, MN to New York's vibrant music scene, hip-hop lets aspiring artists transcend whatever environment (usually urban, usually poor) they grew up in and touch the world.

It was easy to see this effect at work Thursday night at The House of Blues. Leading off was Tabi Bonney, and he reminded the audience that despite opening for a star-studded lineup he was still trying to break out of the struggle. "I've gotta be my own D.J.," he said, fiddling with his laptop before kicking off the reggae-tinged "Rich Kids," "but we dream rich." His tunes weren't breaking any new ground, but the beats were catchy and he had an infectious enthusiasm that was perfect to keep the crowd from getting restless.

John Forte had a very different sound and a very different take on the transformative power of hip-hop. With the Fugees, he had been on top of the world, but after being arrested in 2000 he served seven years in a federal penitentiary. For Forte, hip-hop is his road to redemption. At one point, he had the house turn the lights on the crowd so he could take a picture for posterity; he isn't taking anything for granted now. His lyrics frequently alluded to his incarceration, but he showed a cerebral confidence akin to Chuck D or Mos Def. He slipped between reggae-style singing and rapping, playing guitar all the while. Forte was sitting most of the set and it was definitely lower-key than Bonney's, but some serious basslines kept it from getting too sleepy.

Maybe the best example today of the transformative power of hip-hop - or of music in general - is K'Naan. He grew up in Mogadishu, Somalia, one of the worst places on earth. I was impressed when I saw him back at ACL, but he took it to another level Thursday night. He came out in a blistering fury, with a Russian military hat, backed by ferocious drums and electric guitars, culminating in a rocking version of "T.I.A." "This is a gladiator song!" K'Naan exclaimed, trying to get the crowd pumped up. After that, he showed what really makes him unique, taking it down a notch for a few songs. First he brought a group of young people on stage and dedicated "Take a Minute" to a friend of theirs who had died on brain cancer. Then he took things down even lower, asking for silence so he could sing "Somalia" a capella. K'Naan's singing voice can be off-key from time-to-time but he exudes tremendous sincerity. This conflicted tale of his home land showed once again the transformative power of hip-hop ("Do you see why it's amazing when someone comes out of such a dire situation / And learns the English language just to share his observation?").

The highlight was definitely closer "Wavin' Flag," which was nothing short of inspiring. "I'm going to tell a story," K'Naan said, singing a capella verses that explained some of where his story came from, including a horrifying tale of going to the beach with two friends and being shot at, with his friends being killed. K'Naan's upbringing puts American rappers to shame, and as a result he doesn't have to spend all of his tracks rapping about how hard he is. "Wavin' Flag" is a dream for the future: "When I get older / I will be stronger / They'll call me freedom / Just like a wavin' flag." And though he sings with wide-eyed realism ("it can be bleak," he admits), his relentless optimism is completely uplifting: "It's not far away!" he exults in the build-up to the chorus.

That was a tough performance to follow but Wale did a credible job. After the high-falutin' ideals of K'Naan's work, Wale's rhymes seemed a little shallow, but his flow was amazing. And while his upbringing was not the ordeal that K'Naan's was, he avoided the lowest common denominator of gangsta rap. "Nike Boots" is a fine example of Wale's style - at first it sounds like a playful ode to footwear, but he plumbs what it means to be wearing the same shoes as everyone in D.C., and how that connects him to his hometown. D.J. Omega spun a great and diverse set of beats that kept everybody moving.

K'Naan came on stage for the last couple tunes and the respect and healthy competition between him and Wale was entertaining as they traded verses. After a night of seeing the power of hip-hop to transcend and redeem, to transform and uplift, it was great to see two up-and-comers. If rap has not yet landed them on top of the world, it has taken them a pretty good ways.

Tabi Bonney's MySpace
John Forte's Web Site
K'Naan's Web Site
Wale's Web Site

Hiatus

You might have noticed a big pause there ... I was on vacation! Lots of new posts to come, including reviews of new albums from Spoon and Arctic Monkeys as well as my rundown on the forthcoming k'naan / Wale show.

Austin City Limits - Day One

The Low Anthem - the instrumental versatility of the Rhode Island trio kept the energy high, even as their sometimes quiet tunes threatened to be drowned out by surrounding stages. Lead singer and nominal guitarist Ben Knox Miller started the day behind the drum kit and grabbed an alto horn, harmonicas, and even two cell phones to make ethereal distortions at the end of the mournful "This Goddamn House." Jocie Adams provided harmony vocals and played as much clarinet as bass or guitar, while Jeff Prystowsky wore a huge smile the whole time as he switched between drums and upright bass. The music stayed mostly acoustic, but ranged from the very quiet to barnburner standard "Cigareets and Whuskey," which the trio closed with.

Blitzen Trapper - the Portland, Oregon group plays a loose rootsy rock, and was at its best when tightening up a little - they held the crowd in thrall in the gentle, beautiful "Furr," and in the anthemic harmonies of the chorus to "Big Black Bird." They went the other direction in "Love U," letting the sloppiness all hang out in a fun, passionate raunchy romp. A solid set, but not transcendent.

The Avett Brothers - I just caught the end of this set, but was impressed by the harmonies, alternating between sweet rootsy singing and primal yelling. The music largely veered toward the "rock" side of "roots rock," but they hit some gentler notes, as on "January wedding." I'm intrigued enough to check out a more extended performance later.

The Walkmen - I just heard part of their set before heading off to grab food. It seemed pretty generic New York-style indie rock, though the brass section on some songs was a nice touch.

Phoenix - one of the highlights of Friday. They kicked off their set with "Lisztomania," off latest album Wolfgang Amadeus Phoenix, and kept the crowd bouncing along with their dancy pop. "This is the biggest crowd we've ever played for," lead singer Thomas Mars announced before just taking a few moments to scan the audience. "Thank you, thank you, thank you, thank you, merci beaucoup," he exulted later, as the audience, equally grateful, showered the French band with applause.

K'Naan - the Somalian hip-hop star was really intent on communicating his message from the smaller Wildflower Center Stage - he performed an a cappella version of "Somalia" "so [you] can hear the words." After his quieter numbers, he thanked the audience for listening. It wasn't all low-key material; his boisterous "T.IA." had the audience pumping their fists. His first song, a reggae-tinged number, he wrote less than an hour before going on stage. K'Naan said he felt he had to do it to communicate how far he had come. The audience definitely picked up on his vibe, and I was sorry to have to leave before the end of his set.

Them Crooked Vultures - the much-awaited power trio of Josh Homme (Queens of the Stone Age), Dave Grohl (Nirvana, Foo Fighters) and John Paul Jones (Led Zeppelin) was just as rocking as you might imagine. Homme's casual vocal delivery served as strong counterpoint to his harsh guitar lines, Jones' snaky bass, and Grohl's fierce drumming. "Muscular" is the word that springs to mind; there wasn't a sissy note in the set. After a while it was difficult to tell the difference between the songs, but no doubt that was partially unfamiliarity with the material - this was only the group's second U.S. performance.


Yeah Yeah Yeahs - for all the theatrics - lead singer Karen O came out for the encore covered in a full body suit and the group played with a giant eye behind them - the set was a flat. They rescued things a little towards the end, when Karen O jumped into the stands during "Cheated Hearts" and then followed it with a passionate rendition of "Maps" over Nick Zinner's quiet acoustic guitar, but a bit of a letdown from a band with a strong live reputation.

Low Anthem Site
Blitzen Trapper Site
The Avett Brothers Site
The Walkmen Site
Phoenix Site
K'Naan Site
Them Crooked Vultures Site
Yeah Yeah Yeahs Site