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Archive for the ‘Concert’ Category

SOUNDTRACK: SONIC YOUTH-Live At Brixton Academy (December 14, 1992).

Sonic Youth (well, more accurately, Steve Shelley) has been releasing all kinds of old Sonic Youth releases on bandcamp.  I used to collect a lot of Sonic Youth stuff, so this should scratch all kinds of itches.

However, as I’ve gotten older, I’ve been less “gotta-catch-’em-all” about stuff like this.  Plus, there’s something so impermanent about digital releases, that it sort of doesn’t count.

Nevertheless, I was pleased to see this live recording because this is my favorite era of Sonic Youth.  I first really got into them with Goo and Dirty so this show really pushes all the buttons for me.  Sonic Youth is the one band I really regret never seeing live (especially after having seen Thurston Moore solo–his show was fantastic, so I can’t imagine how good a full band show would have been).  This era would have been the one I would have most wanted to see.

Recorded live on the first of two December nights in 1992 at the Brixton Academy in London, near the end of Sonic Youth’s European tour with Pavement and Cell. This concert was recorded and broadcast by the BBC, and then subsequently widely-bootlegged. This sound-recording is from the band’s own audio master of the December 14th concert and includes performances not broadcast by the BBC or on bootlegs.

The set opens with a little jazzy sax intro music.  The band starts playing some feedback noise and then after a minute and a half Steve Shelley starts the nifty drum pattern for “Shoot.”  Then comes the recognizable bass line and guitar noises before Kim starts whispering the lyrics.  Her voice sound rough and whispery.  It segues into “100%” with a wall of noise and scraping guitars.  I always enjoyed the noises that this song throws around the simple riff.  It’s not as controlled as on the record, but it’s all there–I’d have loved to see this live.

This set feel like a greatest hits to me, perhaps because of how much I like these albums.  To segue from “100%” to “Dirty Boots” is terrific. This song sounds fantastic live–some wild guitar noises from both Thurston and Lee and some really intense drumming from Steve in the middle.  This basically means that Kim is holding the whole song together.

“Kool Thing” starts up–once again the guitars duplicate the record remarkably well for a sound that I don’t understand how its made.  Kim’s delivery is unusual here–she seems strained and like she’s improving things (unless that’s just how she sings).

Thurston sends “Swimsuit Issue” out to Cass from the Senseless fucking Things.  The noisy guitars coordinate with the rumbling drums as Kim growls through the song.

“I Love Her all the Time” has what I assume is a loop of guitar noise that is a sort of the bedroock for Kim and Steve’s rhythm. The song is slowly sung until the middle freakout–another thing I wish I’d seen live.  During the end part as Thurston whisper-sings the lyrics, someone (Lee?) is making terrific waves of noise and feedback.

Lee sings “Genetic” and his song adds such a nice distinction–a catchy song with a great melody.  It’s a shame this is his only song of the show.

“There’s a Sound World” is a another slower Thurston song.  It’s followed by “Tom Violence” which is dedicated to Richard Hell (who I assume was not there).

Then Thurston says “I’m pretty happy for the freedom and liberation of Princess Diana.  [I had to do a little historical digging, because i thought he was talking about her death, which seemed really harsh.  But she made news in 1992 when she divorced Prince Charles.]  “She should never have married that fucking asshole.  But her baby is the king.  And this is for her, this is called “Sugar Cane.” It’s catchy and smooth with some great noises.   There’s a quiet jamming session in the middle with them quietly getting their guitars to ring out.  At the end of the song it sounds liek Thurston says “you’re way out of tune there.”  This is fascinating given the noise that just came out.

They follow it with a bunch of guitar gibberish as a way of introduction to the simple and catchy “Shizophrenia.”  The middle has a fun juxtaposition of gentle harmonics and noises.   The end of the song sounds like a manic saxophone solo and drums–presumably prerecorded.

Thurston thanks Pavement and Cell [what a bill!].  He says they’ll be back tomorrow if any of you have enough money to afford it. Huggy Bear are playing tomorrow.

Then he introduces the next song: “This is an anti police song called “Drunken Butterlfy.”  It starts off but immediately crashes Thurston says “I’m not drunk” and Kim says “You mentioned that world police and it put total bad juju all over the fucking song.”  I always enjoyed the presumably Doors-mocking chorus of “I love you. I love you. I love you.  What’s your name.”  I also absolutely love the short feedback noise that separates the chorus from the verses.  I’m so glad its duplicated here. Sometimes you never know if the noises are purposeful or just happy accidents.

The song is fairly short and the band leaves for an encore break with a wall of low end feedback and crashing sounds–I assume it was deafening.

The band comes back to start “JC.”  This slow song features Kim singing and a lot of scraping and noisy elements especially during the stretched-out middle section.

Up next is the anti-white power song “Youth Against Fascism.”  He says it’s an anti-Skrewdriver song.  I’ve never met the guys from Skrewdriver.  They might be nice guys but they sound like fucking assholes.”  Skrewdriver is  neo-Nazi band I’m glad I’ve never heard of before.  “Y.A.F.” has the most explicitly political and clear lyrics of all of them.

Then he says he’d like to send this song out to Sinead–I believe you.  I can’t recall what was happening with her at the time.  “Expressway to yr Skull” is the final song.  It starts slowly and turns into glorious noise fest.  The first part of the is loud and brash.  The second half slows things down with the guys manipulating feedback and Steve hitting the occasional cymbal.  I’m sure Kim is creating feedback, but she’s still adding some low end rumble to the noise.  This song is listed as 14 minutes but the noise ends around 11.  It’s replaced by a really beautiful acoustic guitar piece.  No credit is given to the creator. I wonder who it is.

This is a great live concert document.  It sounds great and is like a greatest hits for me.

[READ: September 7, 2020] “Flashlight”

This story concerns Louisa.  She is a young girl who is suddenly afraid of the dark.

Her mother is in a wheelchair and Louisa been punishing her in subtle ways.  Mostly by being distant.  The first time, when her mother came to say goodnight “she couldn’t stand another second of her mother being there,” peering in through the cracked door.  From that moment on she has said every night, “close it all the way please.”  It was satisfyingly hurtful without being wrong.

Then she would lie in bed listening to her mother wheel away.  When she was safely far enough away, she would get out of bed and reopen the door a crack.

On this night she overheard voices talking about sending her to a child psychologist.

The therapist was nice, the room was friendly, but Louisa wasn’t having any of it. (more…)

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[WATCHED: April 17, 2020] Chunky Shrapnel

In 2020, the ever productive King Gizzard and the Lizard Wizard released a soundtrack and a live documentary/concert film.

NME explains:

Chunky Shrapnel was supposed to have premiered earlier this month in two sold-out screenings at the Astor Theatre in the band’s stomping grounds of Melbourne. But the coronavirus pandemic put paid to that, so the movie will now premiere for 24 hours on Vimeo, April 17-18. Stewart promises that plans for wider distribution – including a theatrical release in cinemas around the world – are in the works.

Primary filming was done by John Angus Stewart.  In that NME interview he says

because I was shooting on film, and you don’t really know what you’ve got until you’ve got it processed, which takes a few weeks. I was shooting things, in a way, blindly.

With documentaries about musicians or even about filmmakers, a lot of the time, to give it a narrative thread, they pry into artists’ personalities or whatnot, trying to extract this deeper narrative to make it feel like a three-act film.

But to me, I think [King Gizzard’s] performance and their music is so fuckin’ interesting that you don’t have to do that.

If you like this music, you’ll get an insight into who these people are. But I didn’t want to frame them as these godlike figures, because to me that’s kind of bullshit. They’re just normal dudes.

So what’s the film like? (more…)

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SOUNDTRACKKING PRINCESS-Tiny Desk (Home) Concert #6 (April 8, 2020).

I’ve heard a lot of buzz around King Princess–that she’s fun and puts on a wild show.

This home Tiny Desk is not wild in any way.

“Welcome to the quarantine shed!” King Princess exclaims. She’s in jogging pants and sitting on a fluffy white chair, with two guitars, an amp and a tiny keyboard at her side. “I’m in Hawaii and brought as much gear in the carry-on of my plane ride as possible.”

She calls herself KP, which I rather like.  These songs are really quiet. She plays “the three songs from her late 2019 album, Cheap Queen, in ways I never would have imagined.”

“Isabel’s Moment” is played on a quiet keyboard.  She says it’s an homage to people experiencing quarantine thirstiness–texting their exes and ex friends and everyone.  It’s my least favorite of the three because I don’t like the keyboard sound she chose.  But her voice is excellent.

“Prophet” is played on one of her guitars (with lots of echo and slightly out of tune she admits).  The chorus turns surprisingly bright. She says it’s about the entertainment business and it is now more relevant than ever.  We’re all out of jobs right now.

She says this is back to making music in my room, trying to find that creative spark we had as children, when I could sit in my room and make things for hours.

“Homegirl” is also on that guitar and sounds really pretty, too.  I really like her singing voice quite a lot. It holds up well in this quiet setting–so if Bob says that it’s very different from what he’s used to, I’m very curious about what her live show is like.

But I really don’t like her speaking voice, I must admit.

[READ: February 2020] Burning Bridges to Light the Way

Evidently I asked S. for a book by David Thorne a few years ago.  I don’t know what book it was, I don’t recognize any of his titles and I didn’t even recognize his name when I saw this book.  She didn’t get me the book then, but she did get me one this past Christmas.

Turns out that David Thorne is an Australian smart ass.

As the foreword from Peter Goers puts it, this book is full of “barely coherent rants about friends, family, and colleagues.”  He continues,

David isn’t a dreadful human being all the time.  He has to sleep and I know he cares a lot about squirrels.  There are parts of this book that even hint at a certain degree of empathy for other human beings.  Some human beings, not all of them, maybe three.

I’m not sure who Peter Goers is, but his introduction is very funny.  Don’t skip it:

I once asked David if he’s autistic and he replied, “It’s pronounced artistic and no, not really, I can draw a cat though.”  I assume he was joking but it’s hard to tell with David.

In the first essay, David says that every year when he releases a new book friends and associates say that they are going to sue him if he says anything derogatory about them in his book.  But he’s not worried. Nobody he knows has enough money to hire a lawyer. (more…)

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SOUNDTRACK: KING’S X-Live Love in London (2010).

King’s X released their most recent studio album (XV) in 2008.  It’s been over 11 years since that album came out, but King’s X still tours pretty much all of the time.  They could stand to mix up their setlists a bit from time to time, but they still sound quite good.

This concert was recorded on January 22nd, 2009 at the Electric Ballroom in Camden, London, not long after XV came out.  As such, there’s five songs from that album.  I actually thought that XV was a pretty great record and these songs hold up quite well with the rest of them.

This show starts, as pretty much all shows do since 1998 with “Groove Machine.”  The opening of “Welcome to the Groove Machine” is a pretty terrific way to introduce everyone to the show.  There’s a slightly extended drum solo in the middle of the song, but nothing too crazy.

It’s followed by a new song, “Alright.”  It features some noisy, squeaky guitars from Ty and is really catchy in it’s simplicity: “one day, (one day) it’s gonna be, (it’s gonna be) alright, (alright) alright, (alright).”  It’s a great singalong.

They quickly jump back to a popular older song, the quiet “Pleiades” although Ty’s vocals sound a little rough on it.  Back to the new record with “Move,” a suitably heavy song, although “What is This?” from the debut sounds much heavier.  You can tell that the band has played this song a lot because dUg is taking liberties with the lyrics: “make you look so fucking foolish.”  And lots of screaming.  Ty’s guitar solo is pretty epic.

Then they play two songs in a row from the King’s X album.  Up first is the quieter, grooving “Lost in Germany.”  Then comes the hugely popular “Black Flag.”

There’s a slightly lengthy bass intro as the band sets up for the new, absolutely rocking song “Pray,” in which dUg once again grapples with religion.  This is another great chanting sing along.

The crowd is excited for the older hit “Dogman” with some more noisy guitars from Ty.  dUg also makes his first reference to pot: after the line “give me a skinny or give me a fat,” he says “I smoke em fat.”

Then there’s two new songs in a row, yet another great sing-along” Go Tell Somebody.”  It’s a rollicking song that sums up the King’s X ethos pretty well: “if you like what you hear, go tell somebody.”  It leads into the quieter, Jerry Gaskill-sung “Julie” a nice song to his wife.  That’s it for new songs as they head back to older albums from here on out.

The first one is the only song from Ear Candy, the rocking “Looking for Love.”  It’s interesting when Ty plays his solo how much the rest of the sound goes away–its just bass and drums while Ty totally wails–a rather long solo for a 4 minute song.  The crowd goes crazy for “Summerland” and you can hear them all singing along to the final verse including the slight pause before it resumes.  The crowd is incredibly important at a King;s X show and it is a bit of a shame that the crowd is mixed out of this recording (I assume it’s a sound board and therefore hard to include the crowd).  But it’s really great to hear them sing along.  Apparently there is also a lot of chanting and such that is edited out for the CD, which makes sense, but is a bit of a bummer if you want to really capture the energy of the show.  At one point dUg even says, “I’ve been listening to you sing all night and its alright.”

They end the set with a rousing 12 minute “Over My Head.”  The extended part comes in the middle, of course.  The song slows down, the crowd starts clapping, and Ty plays a really impressive solo–just wailing around for almost 3 minutes.  Then it’s dUg’s turn.  “Welcome to the first church of rock n roll.”  He talks about the importance of music, “Music got me through a lot of hard times.”  In almost every show he tells a different anecdote.  This time he says, “My aunt told me … its a terrible thing for a man to do the thing he don’t wanna do for the rest of his life.  I decided I’m gonna make fucking music.”  The audience then sings the chorus pretty much through to the end of the song.

Then it’s time for the encore.  (The encore breaks are not evident on the CD).

dUg says, “This is gonna be a long encore.”  It starts with two songs from Faith Hope Love.  “It’s Love” was probably their biggest hit.  The song sounds great, although truthfully their impeccable harmonies sound a little tired here.   It segues perfectly in to “We Were Born to Be Loved” one of the great show enders.  This version runs to about six minutes with some extended moments and that awesomely complex ending sequence.

They come back out for encore 2 and play the lovely “Goldilox.”  The big difference this time is that the crowd sings the entire song!  Quite well, in fact.  dUg doesn’t sing anything and Ty only plays loud between verses.  It’s pretty cool.  They stay with the debut album for one more song, “Visions” which returns to the heaviness but keeps the harmonies.  The end part really takes off with some wild soloing from Ty as dUg and Jerry jam out together.  It’s a wonderfully wild ending and seems like it could easily end the show.  But the band isn’t quite done yet.

There’s one more encore break before they come back with the wild “Moanjam.”  The harmonies seem to have completely lost them by this time, but musically the song is outstanding.  Just a terrific jam that rocks out.

King’s X is a fantastic live band.  And, yes, they are getting older and don’t sound as amazing as they once did, but the energy and musicianship is still top-notch, even almost ten years after this release.

[READ: February 2019] King’s X: The Oral History

Even though I love music, I don’t read a ton of books about musicians.  I kind of don’t care all that much about most of them.  I want to see and hear you play, but I don’t have that much curiosity about your history.

But some bands defy the tropes of rock, and their story can often be interesting.

I’ve been a fan of King’s X for decades and while I knew some things about them, it turns out I didn’t really know all that much.  And it was fun to read this book which is constructed of quotes from the band and the people who were around them.

Most of the people interviewed are huge fans of the band and can’t understand why they were never more successful (a common question).  I also had no idea there was such acrimony between the band and their original unofficial fourth member, Sam Taylor (who does not make an appearance in the book).

Perhaps the biggest surprise to me was to find out that Doug (dUg) Pinnick is 68 years old! That certainly explains why his voice doesn’t sound superlative live anymore.  And fair play to him.  He sounds amazing for 68.  He is otherwise ageless, that guy.  dUg had a pretty rough upbringing–and he didn’t get a bass until he was 23!

Jerry Gaskill has had two heart attacks (!) and is from South NJ (and now lives near Asbury Park–wow, imagine running into him).  He started a band with his dad and his brother when he was 7 years old (Jerry & The Knights).  And they played out at weddings and parties.  How fun is that?

Ty Tabor is the baby at 58. Ty learned guitar from a babysitter and has been playing ever since.  He and others keep referring to Phil Keaggy.  I had never heard of him and was surprised at Ty’s reverence.  Well, Keaggy is an adult Christian musician so clearly I’d never have heard of him.  I listened to a track or two but just couldn’t get past the Christianness of it to really appreciate the music. (more…)

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[ATTENDED: April 18, 2018] Jeff Tweedy

I knew I was overbooking myself this particular week (this was my third concert in three days), but how could I pass up Jeff Tweedy playing in Princeton?  He’d never played here before.  Who knew when he’d do it again.  And I could get seats by walking right up the box office.

After seeing Wilco live I knew I’d want to see them again.  And while Wilco is much more than Jeff Tweedy, Jeff Tweedy by himself is pretty great.  Especially if you’re in Row E.

I came to Wilco pretty late in their existence.  I didn’t want to know about any alt-country bands back then.  Who needed to add -country to alt- music?  Well, then I heard “Via Chicago” live and I was hooked.  I have retroactively enjoyed all of their releases.

So how awesome was it that he opened with “Via Chicago” just for me? (more…)

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[ATTENDED: April 18, 2018] OHMME

I was slightly disappointed to find that Jeff Tweedy had an opening band as I was hoping for “an evening with” the Wilco frontman. When I looked up OHMME, really the only thing I learned from them was that they were once called HOMME.  But I’m not sure why they changes the name.

So I didn’t really know what to expect when two women came out on stage.  They each had a guitar and a microphone.

And then proceeded to play the most interesting duo rock that I’ve heard in a long time.

Macie Stewart and Sima Cunningham (I’m not even sure who was who) played a vast array of styles and sounds (often within the same song) using just two guitars (and a violin) and their voices.  It was fantastic. (more…)

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2016-12-05-21-06-09SOUNDTRACK: MARTHA WAINWRIGHT-Tiny Desk Concert #252 (November 26, 2012).

I’d published these posts without Soundtracks while I was reading the calendars.  But I decided to add Tiny Desk Concerts to them when I realized that I’d love to post about all of the remaining 100 or shows and this was a good way to knock out 25 of them.

marthaI have been a fan of Loudon Wainwright III for many years.  He has a very musical family and Martha Wainwright is his daughter.  Kate McGarrigle is also her mom, so that’s some lineage.

I’ve enjoyed some of Martha’s earlier songs.  I especially enjoyed her song “Bloody Mother Fucking Asshole” which “was inspired by her father. She wrote the track as a response to her father’s way of writing songs about his family, rather than tending to them.”  Ouch.

But that was almost ten years earlier than this show.  Nevertheless, as the blurb says: “Martha Wainwright’s songs examine uncomfortable moments and life experiences gone wrong, but as she acknowledges in between songs at this Tiny Desk Concert, she often has to fudge her own life story to make the details more unsettling.”

I’ve always wanted to like Martha more, but I find her music to be simply … okay.

She begins with “Some People.”  From what I recall of her earlier songs, she seems more singer-ish and tuneful on this song, as if her voice has gotten more powerful.  She holds some really long notes, too.  As I listened to this song I kept imagining Patti Smith—in voice and attitude.

About the second song, “Can You Believe It?” she says “we are referring to it as the single which is always very funny.”  As an introduction, she says her husband is the punching bag for this album.  Anybody else would have left me by now.  But he has an “understanding of the power and importance of freedom of expression in art and also exaggeration.”  This song has her frank lyrics: “I really like the make up sex it’s the only kind I ever get.”  I can see why this would be marketed as a single–even if there’s a line about “a storm of shit,” it is one of the catchier things she’s written.

She explains that right as her mother, the great Kate McGarrigle, died her son was born.  This is her first song about motherhood–she assumes her son will want it to be her last as well.  What’s strange about “Everything Wrong” is that between the chord structure and her “ay ay ays”at the end of the lines, this song sounds  lot like Rod Stewart’s “Young Turks.”

So I find that I feel the same about Martha as I did before.

[READ: December 19, 2016] “Baby’s On Fire”

Near the end of November, I found out about The Short Story Advent Calendar.  Which is what exactly?  Well…

The Short Story Advent Calendar returns, not a moment too soon, to spice up your holidays with another collection of 24 stories that readers open one by one on the mornings leading up to Christmas.  This year’s stories once again come from some of your favourite writers across the continent—plus a couple of new crushes you haven’t met yet. Most of the stories have never appeared in a book before. Some have never been published, period.

I already had plans for what to post about in December, but since this arrived I’ve decided to post about every story on each day.

This may have been my favorite story of the book so far.

Marston’s protagonist is a forty-nine year old woman, Margaret.  When we first see her, she is climbing to her seat with two glasses of wine in her hands.  She’s trying to take off her coat–but she can’t put down her wine.  Her husband, Amos, is next to her but is not really helping.  I love that he “is shifting from buttock to buttock…as if by going through the motions of helping her in his mind he might actually help her.”

The two are at a concert.  She plans to rock out with her husband and then after the show go to a hotel and have wild sex–something they haven’t done in a long time.  I loved also that she imagined them falling right onto the bed when they got to the hotel.  “(OK maybe they would just fall asleep–it had been a long day–and do it in the morning).” (more…)

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[ATTENDED: October 9, 2016] Richard Thompson

2016-10-09-15-21-28I saw Richard Thompson play back in February at McCarter.  I saw him open for Wilco (well, I saw some of his set since I was late) back in June.  And now I’ve seen him in October.

That’s a lot of Richard.  But I couldn’t pass up this show because the Sellersville Theater is one of the most intimate venues around.  I scored Row G seats like in McCarter although Sellersville’s row G is a bit further back because they have tables in the front.  But it was still like having him play in my living room.

I’ve seen him play in many different styles over the years.  This summer he also toured with Bonnie Raitt with his trio.  I would have gone to that one, since I haven’t seen his trio, but prices were way too much and I don’t like Bonnie Raitt–well, her music anyway, I’ve no opinion about her.  Like the last two times, this was just him and his acoustic guitar.  And while I would love to have gotten a different setup, there is nothing wrong with just him and his guitar.

This was a matinee show (2PM!) thrown together kind of at the last minute (it was announced less than a month ago).  He joked about how matinees are usually played fro 5-year-olds or 95-year-olds–either playing 1930s covers or Puff the Magic Dragon.  He was glad that we were between those ages.

And like last time, there was the man just six rows away.  And I got to watch every amazing solos and chord changes and capo placements and tuning and everything else he could do with that one guitar.  For the McCarter how he played for 2 hours.  We only got 90 minutes (he said “I have three more minutes before I turn into a pumpkin”) which is a little skimpy (although probably about the normal length for a show).

And while no RT show is disappointing, I was a little bummed that his setlist was almost exactly the same as the one he played at McCarter.  The first two songs were different, but almost all of the rest were the same.  And there were no requests or improvs, apparently.

I mentioned last time that he doesn’t play a lot of songs from his new album.  Which is a shame both because his newer albums have been outstanding, but also because he works pretty hard at them (I assume), and he should get to play more from them.   Of course, I totally get that he is practically contractually obligated to play “1952 Vincent Black Lightning,” “I Want to See the Bright Lights Tonight” “Beeswing” “Persuasion” and something from Fairport Convention.  But holy cow, he has so many songs.   He could play a different setlist every night for a month!

But enough griping, because the show was great.  he sounded fantastic and the acoustics in Sellersville are really top-notch. (more…)

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[ATTENDED: May 21, 2016] An Evening with Todd Rundgren

2016-05-21 22.05.52I was astonished to learn that I’ve gone most of my life not knowing that Todd Rundgren wrote “Hello, It’s Me” and “Bang the Drum All Day.”

How did I not know this?

Indeed it turns out I didn’t know much about Rundgren.  I knew he was in the band Utopia and that they played weird prog rock.  And I also thought he was kind of a control freak.  But I didn’t realize he had those huge hits (which might explain how he makes so many weird albums–and he has a lot of weird albums).

I don’t even know what made me get a ticket of this show.  I had recently been hearing a bit about him. I had looked him up on line or some reason (that’s how I knew he wrote those songs) and I recognized the photo to the right, an iconic photo from Something/Anything (which was used as the backdrop for the show).  When I saw that he was playing at McCarter, I decided it was time to check him out.  Now, I was going to see a show the night before and normally I don’t like to do two nights in a row, but since this show was so close by (and I knew I’d be home by eleven) I decided to go.  And I had a great time.

The blurb for this show started: “The classic rocker Todd Rundgren may be 67, but he shows no signs of slowing down.”  And that’s very true.

I managed to score a seat in Row J, which was so close to the man I could see him sweat (ew).  The only problem was the very tall man sitting in front of me (I should have asked him to switch seats with his tiny wife).

While I was waiting for the show to start, a woman sat down next to me with her husband and some friends.  She was super friendly (and a bit drunk) and we started talking.  She asked how big a fan I was of Todd.  And I had to admit that this was my first show.  She told me that she first saw Todd when she was 16 (or 19 who can remember) and has seen him every tour since then (she’s in her 50s).  She said he tours constantly and she will see him twice a year sometimes.

Normally I’m not much of a talker during a show, but I enjoyed having her next to me to occasionally guide me through what I was hearing.  Unlike the louts at the end of the row who were talking really loudly and making jokes throughout the show (and getting up to go to the bar every couple of songs).  They were big fans I could tell (they knew every song), but such disrespect I’ve never seen.

The lady (whose name I never got) told me that Todd makes a new playlist for each show and decides what he’s going to play an hour before he goes on.  That was pretty cool.  She told me a few other things that were interesting about him (he has a house that he built in Hawaii but he never goes there because he is always touring).  And that, amazingly, she’d never actually met him after all these years.

And then the lights dimmed and the band came out.  Followed by Todd.  And the crowd went berserk!  It was especially amusing because it was practically like a  Tom Jones show, with women throwing themselves at him (my seatmate remained remarkably composed).  These women (mostly) stood and applauded after each song, waved their arms and were so utterly into it, I was amazed. (more…)

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[ATTENDED: February 9, 2016] Richard Thompson at the McCarter Theatre

2016-02-09 19.19.51This was my fourth time seeing Richard Thompson at McCarter Theatre (he says it was his 492nd time playing there).  And this time, I got my tickets early and scored ROW G!  Right in the center!

2016-02-09 19.24.13So there was the man just six rows away.  And I got to watch every amazing solos and chord changes and capo placements and tuning (that’s why I can’t play his songs) and everything else he could do with that one guitar.

For indeed, that’s what it was, just him and his acoustic guitar.  Standing in front of us for 2 hours and blowing us away.  When I bought the tickets, he was touring with a trio (last summer), so I assumed that this show would be the trio show.  But nope, it was just him.

And, more amazingly, he played with no opening act!  The night before he was at the Sellersville Theater (which sold out before I found out and although they called me about the waiting list, it was about 2 hours before show time, so there’s no way I could have gone) and had an opening act.  And the next show after this one he had a different opening act.  But we got just Richard (and we were home by 10, which is pretty awesome for us old people). (more…)

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