Location: Lakewood Amphitheatre, Atlanta, GA
Supporting Act(s): Modest Mouse and The National
In the Company of: Chris
It’s been a long wait for the fans of R.E.M. Not so much to see their band play live, but to grab hold of such a high quality piece of work as this year’s “Accelerate.” Not since the early nineties have they recorded a rock and roll album with such intensity. It seems that since the departure of drummer Bill Berry in 1997, they have drifted aimlessly from album to album. Don’t get me wrong…there have been some real gems. But overall, no “big plays.” Not until 2008, and what turned out to be one of R.E.M.’s most critically praised releases in years.
For the final stop on their North American tour, they chose a homecoming. As students at the University of Georgia in Athens in the late 70s, Michael Stipe, Peter Buck, Mike Mills, and Berry formed what would become one of rock music’s most influential bands. Most of the sold-out crowd of hometown fans at Lakewood Amphitheatre in Atlanta had been a part of that three-decade journey and were here to celebrate.
Instead of kicking off the show with something new, as is the common tradition, R.E.M. chose to bring out the big guns with “These Days,” a certified rocker from 1986’s “Lifes Rich Pageant.” This set the crowd on fire with no cooling down in sight. The sound was fresh, the music was succinct, and the band has never sounded better. Then, as if to acknowledge their rise back to the top, they performed the new “Living Well Is The Best Revenge.” This was one of several songs from “Accelerate,” including “Man-Sized Wreath,” which Stipe explained was written about the desecration of one of his childhood heroes Martin Luther King, Jr. Also from the new album was the building power of “Hollow Man” and “Houston,” a song about the ravages of Hurricane Katrina (“If the storm doesn’t kill me the government will”). “Horse To Water,” and “I’m Gonna DJ” rounded out the new stuff.
Following “Time After Time,” Stipe said to the crowd, “Looks good, sounds good, feels good too!” We agreed. To set up the ultra-political “Ignoreland,” he explained that the song had stemmed from the Iran-Contra scandal of the Reagan era. For the classic “(Don’t Go Back To) Rockville” (from 1982’s “Reckoning”), Stipe handed the microphone over to bassist Mike Mills, who is well known for his extraordinary harmonies (in actuality, this song was recorded with Stipe singing lead). Off that same album came “Harborcoat,” which showcases R.E.M.’s post-punk sound, exceptional vocals all around, with just a touch of a reggae guitar riff (“They crowded up to Lenin with their noses worn off / A handshake is worthy if it’s all that you’ve got”). Afterwards, he gave special thanks to the English Beat for their influence on that song (I never would’ve put those two musical institutions together).
At 90 minutes into the show, the band took a bow and exited the stage then returned for one encore offering six more songs. On the sublime and brilliant “Nightswimming,” Stipe leaned on the piano while Mills played the music (“Nightswimming deserves a quiet night / I’m not sure all these people understand”). The only issue I had with that song was that it ended. For the final two song choices, the band was joined onstage by one-half of the Smiths’ genius, Johnny Marr. Marr joined Modest Mouse (for their 2007 release “We Were Dead Before The Ship Even Sank”), who opened for R.E.M. after Brooklyn band the National kicked off the evening. Those final songs were the awe-inspiring “Fall On Me,” which must be the most beautiful song about acid rain ever written, and “Man On The Moon.”
R.E.M. has always been a politically active band. Since their inception in the early eighties, they have had a liberal outlook on the world and been involved with many charitable ventures. During the encore, Stipe knelt down on stage and said, “I’m just going to say this…” and pulled out a t-shirt that the National is selling along with its own merchandise. It was an Obama ’08 shirt. Stipe said that the National’s final song, “Mr. November,” was played in honor of Barack Obama and that all the proceeds would go to his campaign. He went on to say that “…we need to get this man into office and follow through on the dream of Dr. King.” The majority of the crowd was supportive, but there were clearly a few conservatives present. (What do you expect? We are in Georgia.)
Overall, this was one fantastic show. I was transported back to R.E.M.’s hey day in the mid-80s when I attended three of their concerts. But this was different. This was a more mature group of musicians who have actually improved with age. Huge screens displayed the artistic side of the band, showing band members as well as other images and videos in piecemeal bouncing around the screens. There were several songs that I wanted to hear – but did not – including “Begin The Begin,” “Can’t Get There From Here,” “Feeling Gravity’s Pull,” and “Bandwagon.” Also sadly absent was ANYTHING from the first two releases “Chronic Town” or “Murmur.”
Indie rock group the National kicked off the evening with a sweet gig that many bands may likely kill for. Besides “Mr. November,” we heard some great songs, including “Start A War,” “Secret Meeting,” and “Fake Empire.” Singer Matt Berninger emoted with his beautiful, deep baritone voice.
Washington’s Modest Mouse, with it’s growing success in the alternative music world, warmed up the crowd nicely. Lead singer Isaac Brock sounded strikingly similar to the Pixies’ Frank Black (or Black Francis, depending on your upbringing). Modest Mouse energized the crowd with such tunes as “Black Cadillacs,” “Satin In A Coffin,” “King Rat,” and the incomparable “Dashboard” (“Well, it would've been, could've been worse than you would ever know / Oh, the dashboard melted, but we still have the radio”). Regardless of the band’s great success and their priceless exposure touring with R.E.M., the fact remains that I saw Johnny Marr live. That’s all that needs to be said.
R.E.M. Set List:
1. These Days
2. Living Well Is The Best Revenge
3. So Fast, So Numb
4. What’s The Frequency, Kenneth?
5. Time After Time (AnnElise)
6. Driver 8
7. Man-Sized Wreath
8. Walk Unafraid
9. Hollow Man
10. Ignoreland
11. Houston
12. Electrolite
13. (Don’t Go Back To) Rockville
14. Auctioneer (Another Engine)
15. Harborcoat
16. The One I Love
17. I’ve Been High
18. Let Me In
19. Bad Day
20. Horse To Water
21. Orange Crush
22. I’m Gonna DJ
Encore:
23. Supernatural Superserious
24. Losing My Religion
25. Pretty Persuasion
26. Nightswimming
27. Fall On Me (w/Johnny Marr)
28. Man On The Moon (w/Johnny Marr)
rematl
Monday, June 23, 2008
Saturday, June 21, 2008
94. THE CURE, 6/15/08
Location: The Arena at Gwinnett Center, Duluth, GA
Supporting Act(s): 65daysofstatic
In the Company of: Chris
Founding member, singer, songwriter, and glue-that-holds-the-band-together Robert Smith has never been accused of giving up easily. Even in the early nineties, there was talk of the Cure’s demise, yet Smith always found a way – or another musician – to keep it going. Since the group’s formation way back in 1976 (starting off as Glove then Easy Cure before settling on The Cure), Smith has made many personnel changes to his Goth-rock line-up, although his outward appearance has not changed as much, wearing all black with his trademark electrocuted hair, heavy eyeliner, and red lipstick.
For the current line-up, Smith is joined by the amazing Porl Thompson on guitar. Thompson has shaved his head and is sporting large raccoon eyes with stripes across the left side of his noggin. He is a frightening presence, appearing very tall, maybe because of those five-inch heels. He wore all black, with vinyl/plastic-looking pants. If Gene Simmons and Marilyn Manson were to have a lovechild, this would be the offspring. Simon Gallup brought us all down low on the bass and Jason Cooper was more than proficient on the drums.
For a group of rock “veterans,” energy was not a factor. The band played for an astonishing three hours and two minutes, which included 37 songs and three encores. When the show ended at 12:17 am, I had witnessed the best Cure show I’d seen (this was my third one). As the show began with “Underneath The Stars,” there was a white noise ocean sound, reminiscent of the opening sounds of “I Am The Sea,” from the Who’s “Quadrophenia.” Gone are the keyboards/synthesizers, which helped define the Cure’s sound over the past thirty years. This is a new, stripped-down collective, which requires some adjustments. Mostly, Smith and Thompson showed their guitar prowess in replacing those former instruments. What the fans got was a cleaner, tighter set of songs.
The musicianship was excellent, with no weak members in the band. Smith’s voice was perfect for the entire evening. He seemed very appreciative, smiling and dancing during several songs, despite the less than sold-out crowd, which was mostly made up of thirty- and forty-somethings. Not as many young, Goth kids as you may think, but they were there.
True Cure fans were treated to many older, lesser-known songs. But it was the better-known selections that invigorated the masses. Smith culled many of the evening’s songs from the band’s peak years during the mid- to late-eighties. From 1985’s “The Head On The Door” we heard “Inbetween Days,” “Push,” and “Close To Me” (“I've waited hours for this / I've made myself so sick / I wish I'd stayed asleep today / I never thought this day would end / I never thought tonight could ever be / This close to me”). From 1987’s “Kiss Me, Kiss Me, Kiss Me” came “Hot Hot Hot!!!,” “Why Can’t I Be You?” “Kyoto Song,” and the wonderfully happy “Just Like Heaven” (“Show me, show me, show me how you do that trick / The one that makes me scream, she said”). And 1989’s “Disintegration” gave us “Fascination Street,” “Lovesong,” “Pictures Of You,” and “Lullaby.”
The classics, though, were not forgotten, such as “Boys Don’t Cry,” “10:15 Saturday Night,” “A Forest,” and “The Lovecats” (“Into the sea you and me / All these years and no one heard / I'll show you in spring it's a treacherous thing / We missed you hissed the love cats”). Also played was the rocking new single “Freakshow,” from the Cure’s forthcoming, yet to be named album (Geffen). This is their thirteenth studio recording and the band is releasing one single on the 13th of each month leading up to the September 13 release date. Sounds like we’re in for some good luck.
Opening the show was Sheffield England’s 65daysofstatic, an alt-rock totally instrumental band that were surprisingly great. Besides a few thank yous, we didn’t hear much vocally. But the four-piece treated us to some interesting rock music. With some pre-recorded speaking and synthesized music kicking off a few songs, they definitely set themselves apart from most other modern rock bands. With the opening slot for the Cure tour, they are sure to get some much-deserved attention.
Set List (thanks in part to my memory and a little help from www.chainofflowers.com):
1. Underneath The Stars
2. Want
3. A Strange Day
4. The Walk
5. The End of the World
6. Lovesong
7. To Wish Impossible Things
8. Pictures of You
9. Lullaby
10. Fascination Street
11. The Perfect Boy
12. From the Edge of the Deep Green Sea
13. Other Voices
14. Sleep When I'm Dead
15. Push
16. Doing The Unstuck
17. Inbetween Days
18. Just Like Heaven
19. Kyoto Song
20. Hot Hot Hot!!!
21. The Only One
22. Charlotte Sometimes
23. Signal To Noise
24. One Hundred Years
25. Baby Rag Dog Book
First Encore:
26. At Night
27. M
28. Play For Today
29. A Forest
Second Encore:
30. The Lovecats
31. Let's Go To Bed
32. Freakshow
33. Close To Me
34. Why Can't I Be You?
Third Encore:
35. Boys Don't Cry
36. 10:15 Saturday Night
37. Killing An Arab
Supporting Act(s): 65daysofstatic
In the Company of: Chris
Founding member, singer, songwriter, and glue-that-holds-the-band-together Robert Smith has never been accused of giving up easily. Even in the early nineties, there was talk of the Cure’s demise, yet Smith always found a way – or another musician – to keep it going. Since the group’s formation way back in 1976 (starting off as Glove then Easy Cure before settling on The Cure), Smith has made many personnel changes to his Goth-rock line-up, although his outward appearance has not changed as much, wearing all black with his trademark electrocuted hair, heavy eyeliner, and red lipstick.
For the current line-up, Smith is joined by the amazing Porl Thompson on guitar. Thompson has shaved his head and is sporting large raccoon eyes with stripes across the left side of his noggin. He is a frightening presence, appearing very tall, maybe because of those five-inch heels. He wore all black, with vinyl/plastic-looking pants. If Gene Simmons and Marilyn Manson were to have a lovechild, this would be the offspring. Simon Gallup brought us all down low on the bass and Jason Cooper was more than proficient on the drums.
For a group of rock “veterans,” energy was not a factor. The band played for an astonishing three hours and two minutes, which included 37 songs and three encores. When the show ended at 12:17 am, I had witnessed the best Cure show I’d seen (this was my third one). As the show began with “Underneath The Stars,” there was a white noise ocean sound, reminiscent of the opening sounds of “I Am The Sea,” from the Who’s “Quadrophenia.” Gone are the keyboards/synthesizers, which helped define the Cure’s sound over the past thirty years. This is a new, stripped-down collective, which requires some adjustments. Mostly, Smith and Thompson showed their guitar prowess in replacing those former instruments. What the fans got was a cleaner, tighter set of songs.
The musicianship was excellent, with no weak members in the band. Smith’s voice was perfect for the entire evening. He seemed very appreciative, smiling and dancing during several songs, despite the less than sold-out crowd, which was mostly made up of thirty- and forty-somethings. Not as many young, Goth kids as you may think, but they were there.
True Cure fans were treated to many older, lesser-known songs. But it was the better-known selections that invigorated the masses. Smith culled many of the evening’s songs from the band’s peak years during the mid- to late-eighties. From 1985’s “The Head On The Door” we heard “Inbetween Days,” “Push,” and “Close To Me” (“I've waited hours for this / I've made myself so sick / I wish I'd stayed asleep today / I never thought this day would end / I never thought tonight could ever be / This close to me”). From 1987’s “Kiss Me, Kiss Me, Kiss Me” came “Hot Hot Hot!!!,” “Why Can’t I Be You?” “Kyoto Song,” and the wonderfully happy “Just Like Heaven” (“Show me, show me, show me how you do that trick / The one that makes me scream, she said”). And 1989’s “Disintegration” gave us “Fascination Street,” “Lovesong,” “Pictures Of You,” and “Lullaby.”
The classics, though, were not forgotten, such as “Boys Don’t Cry,” “10:15 Saturday Night,” “A Forest,” and “The Lovecats” (“Into the sea you and me / All these years and no one heard / I'll show you in spring it's a treacherous thing / We missed you hissed the love cats”). Also played was the rocking new single “Freakshow,” from the Cure’s forthcoming, yet to be named album (Geffen). This is their thirteenth studio recording and the band is releasing one single on the 13th of each month leading up to the September 13 release date. Sounds like we’re in for some good luck.
Opening the show was Sheffield England’s 65daysofstatic, an alt-rock totally instrumental band that were surprisingly great. Besides a few thank yous, we didn’t hear much vocally. But the four-piece treated us to some interesting rock music. With some pre-recorded speaking and synthesized music kicking off a few songs, they definitely set themselves apart from most other modern rock bands. With the opening slot for the Cure tour, they are sure to get some much-deserved attention.
Set List (thanks in part to my memory and a little help from www.chainofflowers.com):
1. Underneath The Stars
2. Want
3. A Strange Day
4. The Walk
5. The End of the World
6. Lovesong
7. To Wish Impossible Things
8. Pictures of You
9. Lullaby
10. Fascination Street
11. The Perfect Boy
12. From the Edge of the Deep Green Sea
13. Other Voices
14. Sleep When I'm Dead
15. Push
16. Doing The Unstuck
17. Inbetween Days
18. Just Like Heaven
19. Kyoto Song
20. Hot Hot Hot!!!
21. The Only One
22. Charlotte Sometimes
23. Signal To Noise
24. One Hundred Years
25. Baby Rag Dog Book
First Encore:
26. At Night
27. M
28. Play For Today
29. A Forest
Second Encore:
30. The Lovecats
31. Let's Go To Bed
32. Freakshow
33. Close To Me
34. Why Can't I Be You?
Third Encore:
35. Boys Don't Cry
36. 10:15 Saturday Night
37. Killing An Arab
93. THEY MIGHT BE GIANTS, 1986 (out of order)
Location: The Lone Star, Kansas City, MO
Supporting Act(s): ?
In the Company of: Britt E.
Just recollected that I was at this show...sometime in 1986? Probably a small cover charge at this now defunct club in Kansas City's Westport district (meaning NO ticket stub!). I had recently seen TMBG's new video - and their very first single - "Don't Let's Start" on MTV. Very cool video and a great song ("When you are alone you are the cat you are the phone you are an animal / The words I'm singing now mean nothing more than meow to an animal / Wake up smell the cat food in your bank account / Don't try to stop the tail that wags the hound"...this may make more sense if you heard it). I quite possibly purchased their first CD at this show for under $10.
Other gems may have included, "Hide Away Folk Family," "She's A Hotel Detective," "32 Footsteps," "Boat Of Car," and many more!
This was probably the two Johns' (Finnell and Lansburgh) first trip to KC from NY. It was just the two of them and a drum machine. Guitars, accordians, and several other instruments were played that evening. It was loud and the crowd loved it.
Supporting Act(s): ?
In the Company of: Britt E.
Just recollected that I was at this show...sometime in 1986? Probably a small cover charge at this now defunct club in Kansas City's Westport district (meaning NO ticket stub!). I had recently seen TMBG's new video - and their very first single - "Don't Let's Start" on MTV. Very cool video and a great song ("When you are alone you are the cat you are the phone you are an animal / The words I'm singing now mean nothing more than meow to an animal / Wake up smell the cat food in your bank account / Don't try to stop the tail that wags the hound"...this may make more sense if you heard it). I quite possibly purchased their first CD at this show for under $10.
Other gems may have included, "Hide Away Folk Family," "She's A Hotel Detective," "32 Footsteps," "Boat Of Car," and many more!
This was probably the two Johns' (Finnell and Lansburgh) first trip to KC from NY. It was just the two of them and a drum machine. Guitars, accordians, and several other instruments were played that evening. It was loud and the crowd loved it.
Wednesday, June 18, 2008
92. DEATH CAB FOR CUTIE, 5/31/08
Location: Ninth Street Summerfest, Columbia, MO
Supporting Act(s): Rogue Wave
In the Company of: Russ W. & Sheila W.
What’s in a name? Well, for Seattle’s Death Cab For Cutie, a lot. Travel back with me, if you will, to 1967. You may remember a little movie by The Beatles called “The Magical Mystery Tour.” In that movie, there is another band, called the Bonzo Dog Doo-Dah Band. They perform a song in that film entitled, “Death Cab For Cutie.” Got it?
Now, fast-forward to 2008 and an indie rock group that recently had their new release, “Narrow Stairs,” debut at #1 on the Billboard Hot 100 chart. Pretty amazing for a band that was relatively unknown until 2005’s breakout release “Plans.” This success is definitely not overnight, though. The group, led by singer Ben Gibbard, has been making music together for ten years.
On this warm night under the stars in the cozy college town (The University of Missouri), Gibbard asked the two blocks of fans if any had been with them six years ago for the first time they played Columbia. It was at a club called Mojo’s. A club I was sitting in not an hour before this show began. The place is small and dingy, but with a nice beer selection. One or two yelps answered his question. I’m guessing they were not really there six years ago, but just wanted some undeserved attention from the crowd.
The show kicked off with “Bixby Canyon Bridge” from “Narrow Stairs,” a salute to Beat poet Jack Kerouac. Gibbard starts off the song nearly a capella, but the rhythm section soon joins in to make this a pounding gem (“I descended a dusty gravel ridge / Beneath the Bixby Canyon Bridge / Until I eventually arrived / At the place where your soul had died”). The sound was loud and crisp and it seemed that the crowd had been waiting an eternity for this moment, not just the one-hour delay caused by the storm cells over mid-Missouri.
Other selections from the new release included, “Long Division,” “Cath…,” and the stalking first single, “I Will Possess Your Heart,” played nearly in its entirety of over eight minutes (“You gotta spend some time love / You gotta spend some time with me / And I know that you’ll find love / I will possess your heart”). The band also treated the crowd to several songs from their last album, “Plans,” including “Crooked Teeth,” “Soul Meets Body,” the touching and hugely sing-along-able “I Will Follow You Into The Dark,” “Marching Bands Of Manhattan,” and “Your Heart Is An Empty Room.”
From 2003’s “Transatlanticism” (the band’s final release on the indie label Barsuk) we heard “New Year,” “The Sound Of Settling,” “Title And Registration,” and the closer, “Transatlanticism” (“…I need you so much closer…”). For the hardcore Death Cab fans, “Why You’d Want To Live Here,” “A Movie Script Ending,” “We Laugh Indoors,” “Your Bruise,” and “405” were performed.
Young faces in the crowd were jumping and singing every word to every song. I felt guilty calling myself a fan not knowing every lyric. But college towns and college radio can stand up and take some credit for Death Cab’s overwhelming success of late. This was an inspired show that will not soon be forgotten.
Opening the show was California’s Rogue Wave. Promoting their 2007 release, “Asleep At Heaven’s Gate,” the band played excellent music that was responded well to by the fans. Highlights were “Lake Michigan” and “Like I Needed.” Headed by Zach Rogue, the band is both atmospheric and rocking in any given song. Something to see if you get the chance.
Supporting Act(s): Rogue Wave
In the Company of: Russ W. & Sheila W.
What’s in a name? Well, for Seattle’s Death Cab For Cutie, a lot. Travel back with me, if you will, to 1967. You may remember a little movie by The Beatles called “The Magical Mystery Tour.” In that movie, there is another band, called the Bonzo Dog Doo-Dah Band. They perform a song in that film entitled, “Death Cab For Cutie.” Got it?
Now, fast-forward to 2008 and an indie rock group that recently had their new release, “Narrow Stairs,” debut at #1 on the Billboard Hot 100 chart. Pretty amazing for a band that was relatively unknown until 2005’s breakout release “Plans.” This success is definitely not overnight, though. The group, led by singer Ben Gibbard, has been making music together for ten years.
On this warm night under the stars in the cozy college town (The University of Missouri), Gibbard asked the two blocks of fans if any had been with them six years ago for the first time they played Columbia. It was at a club called Mojo’s. A club I was sitting in not an hour before this show began. The place is small and dingy, but with a nice beer selection. One or two yelps answered his question. I’m guessing they were not really there six years ago, but just wanted some undeserved attention from the crowd.
The show kicked off with “Bixby Canyon Bridge” from “Narrow Stairs,” a salute to Beat poet Jack Kerouac. Gibbard starts off the song nearly a capella, but the rhythm section soon joins in to make this a pounding gem (“I descended a dusty gravel ridge / Beneath the Bixby Canyon Bridge / Until I eventually arrived / At the place where your soul had died”). The sound was loud and crisp and it seemed that the crowd had been waiting an eternity for this moment, not just the one-hour delay caused by the storm cells over mid-Missouri.
Other selections from the new release included, “Long Division,” “Cath…,” and the stalking first single, “I Will Possess Your Heart,” played nearly in its entirety of over eight minutes (“You gotta spend some time love / You gotta spend some time with me / And I know that you’ll find love / I will possess your heart”). The band also treated the crowd to several songs from their last album, “Plans,” including “Crooked Teeth,” “Soul Meets Body,” the touching and hugely sing-along-able “I Will Follow You Into The Dark,” “Marching Bands Of Manhattan,” and “Your Heart Is An Empty Room.”
From 2003’s “Transatlanticism” (the band’s final release on the indie label Barsuk) we heard “New Year,” “The Sound Of Settling,” “Title And Registration,” and the closer, “Transatlanticism” (“…I need you so much closer…”). For the hardcore Death Cab fans, “Why You’d Want To Live Here,” “A Movie Script Ending,” “We Laugh Indoors,” “Your Bruise,” and “405” were performed.
Young faces in the crowd were jumping and singing every word to every song. I felt guilty calling myself a fan not knowing every lyric. But college towns and college radio can stand up and take some credit for Death Cab’s overwhelming success of late. This was an inspired show that will not soon be forgotten.
Opening the show was California’s Rogue Wave. Promoting their 2007 release, “Asleep At Heaven’s Gate,” the band played excellent music that was responded well to by the fans. Highlights were “Lake Michigan” and “Like I Needed.” Headed by Zach Rogue, the band is both atmospheric and rocking in any given song. Something to see if you get the chance.
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