Liam Finn & Eliza-Jane Barnes, Champagne In Seashells (Yep Roc Records)
On the new EP Champagne In Seashells, New Zealander Liam Finn has again created a fresh and cutting-edge collection of songs. For the follow-up to his 2008 debut, the critically acclaimed I’ll Be Lightning, Finn shares billing with his singing partner Eliza-Jane Barnes. For those familiar with Lightning, Finn has most assuredly evolved into a more mature and deliberate songwriter.
On the opening track, “Plane Crash,” Finn sings throughout an ominous build-up to the “Plane crash!” crescendo. In an instant, the somber, eerie tune becomes a hurricane of rock music, featuring Finn’s dynamic guitar and ferocious drumming.
On “Long Way To Go,” Finn has created a brilliant pop piece, supported with catchy lyrics, crazy guitar sounds, and smooth organ interludes. This one recalls dad Neil Finn’s work with Crowded House. Filled with hooks galore, Finn still manages to build rich and complex melodies.
Track three finds the music mellowing, but not boring. “Won’t Change My Mind” is a beautiful tune that’s has a second half which takes off in an entirely different direction.
“Honest Face” is quite possibly one of Liam Finn’s finest creations. This song contains all the requisites for a great tune. Excellent harmonizing by Eliza-Jane, a quirky tune that will grow on you like kudzu, top-notch musicianship, and a glimmer of his – as well as his father’s – apparent influence, the Beatles. Actually, the Fab Four’s inspiration can be heard on all things Finn: Split Enz, Crowded House, Neil Finn, Tim Finn, The Finn Brothers, and now Liam. Granted, he grew up surrounded by fine pop music and fine pop musicians, but at this stage in his life has earned his keep as one of music’s finest singer/songwriters.
To wrap up this fine EP, Eliza-Jane takes the lead with “On Your Side.” While Finn possesses pop/folk vocals, Eliza-Jane brings to the table a striking voice that perfectly complements that of her partner’s.
With a total running time of just 20 minutes, the listener is left wanting more of Champagne In Seashells. Hopefully, Finn will treat us with a full-length release in the very near future. After opening several shows on Eddie Vedder’s solo tour earlier this year, Liam and Eliza-Jane will soon be on the road opening for Pearl Jam, then it’s Wilco in the spring. With this prominent exposure, music lovers will soon be saying, “Liam, where have you been all my life?”
Venue: The EARL, Atlanta
Support: Port O'Brien, Sara Lov
In the Company of: Thomas S.
Alex Brown Church is an artist on the verge of success…to the average American, that is. While your neighbor may think you’re talking about the Jack London novel of the same name, Church has quietly built a fan base and some much-deserved exposure for his band Sea Wolf. Hailing from California, Sea Wolf has a song on the soundtrack to the new film, The Twilight Saga: New Moon. Sharing the bill with such alt-rock gods as Death Cab For Cutie, Muse, and Thom Yorke, this is sure to garner Sea Wolf the respect and attention they deserve.
After attending the prestigious NYU film school, Church returned to California and formed the band Irving, finding marginal success. When the singer/songwriter realized his musical tastes were veering from Irving’s sound, he dissolved that band and formed Sea Wolf. The second full-length release, White Water, White Bloom, has rocketed the band to the forefront of the American indie rock scene.
On this night in Atlanta, Sea Wolf hit their groove. Looking out at the full house at the EARL, Church made the comment that their previous visit only reaped about 20-30 fans. So, he was intensely appreciative and thanked us all several times for coming out, for the warm welcome, and for buying their music. With vocal stylings that could be compared with Mark Knopfler or Tom Petty, Church has a deep rich voice that is unique in itself. Watching them live, you may also reminisce a bit about Arcade Fire. Just a bit.
The band played songs from their first EP and two full-length releases. “Winter Windows” opened the show with a poppy sound (“This is the world, this is the world we live in / It's not the one I choose, but it's the one we're given / This is the world, this is the world we live in / And it's through winter windows that ends become beginnings”).
Some other songs performed were “The Traitor,” “I Made A Resolution,” “You’re A Wolf,” “Turn The Dirt Over,” and the new single, “Wicked Blood.” With guitars, keyboards, drums, and a beautiful cello, Sea Wolf’s sound was a great example of the resurgence of the indie folk-rock sound. The band played inspired and we listened. It was a great night of fine musicianship, sharp lyrics, and good karma.
Warming up for Sea Wolf were fellow Californians Port O'Brien, another reminder of the “Arcade Fire Sound.” While also in the mold of indie rock (with a touch of folk thrown in), Port O’Brien were an energized band with a purpose. Touring in support of their new release Threadbare, the band performed such gems as “I Woke Up Today” and “My Will Is Good.” Led by the extroverted Van Pierszalowski, Port O’Brien demonstrated the true essence of what a warm up band should be.
Sara Lov started off the evening with an acoustic guitar and a vinyl record. That’s correct, her vinyl band consisted of her real band’s recordings of the songs which they could not play since they did not accompany her on this tour. Don’t think karaoke, because this talented singer/songwriter didn’t really need them. But it was a novel approach that worked well. Lov showed off her folk music chops, preparing us for the evening to follow. And she even covered Arcade Fire’s “My Body Is A Cage,” if you can believe it.
Venue: Georgia Dome, Atlanta
Support: Muse
In the Company of: Chris & Ethan
Music fans around the world speculate after each new U2 album and subsequent tour whether or not it will be their last. And time after time, the Dubliners return evolved with a new look and sound. This was most noticeable between the rootsy ode to America that was The Joshua Tree and the techno awsomeness of Achtung Baby. The mid nineties were iffy for the members of U2, however. Talk of a breakup persisted, especially after Zooropa and Pop failed to sell as expected. But the band managed to redefine itself once again and land on their feet.
Touring in support of their latest release, No Line On The Horizon, U2 have again created a gem. This one clearly showcases their maturity and musicianship. Bono’s voice – his instrumental contribution to the group – has never sounded better. At 49, Bono (Paul Hewson) still has the pipes to hit all the notes. It seems his voice has actually improved since the release of Boy in 1980.
Fast-forward to 2009 and the Georgia Dome in Atlanta. The near-capacity crowd of over 65,000 fans were giddy with anticipation. Then, heavy fog rolled over the stage and we heard David Bowie’s “Space Oddity,” setting the stage for the space ship on the 360° Tour to take orbit. They kicked off the show with the raucous “Breathe,” from No Line, which almost seemed to depict their current lives (“Walk out, into the sunburst street / Sing your heart out, sing my heart out / I've found grace inside a sound / I found grace, it's all that I found / And I can breathe”).
During “Beautiful Day,” Bono drifted into a gorgeous version of the Beatles’ “Blackbird.” Sampling bits of great old songs is something the band does very often and very well. They somehow always blend something timely and relevant. During “I Still Haven’t Found What I’m Looking For,” Bono broke into Ben E. King’s “Stand By Me.” Again, Bono reached into his record collection and began Sly and the Family Stone’s “I Want To Thank You For Letting Me Be Myself,” which seamlessly merged into a beat-heavy, techno-explosive version of “I’ll Go Crazy If I Don’t Go Crazy Tonight.” The only recognizable thing about this song was the lyrics, but it definitely worked. U2 are all about taking risks. This gamble paid off, even if some in the crowd had no idea what they were listening to.
Bono informed his fans that the monstrous claw stage was actually built to get closer to them. But apparently we were not close enough, as he wanted to “make it disappear tonight.” At one point, Edge experienced technical difficulties with his acoustic guitar. While working on it, Bono told the audience, “You know, Edge is from the future. He just traveled back in time to play with us tonight.” Everyone believed it. After the rhythm section of Larry Mullen Jr. (drums) and Adam Clayton (bass) took a break and the guitar was repaired, Bono and the Edge played a beautiful unplugged version of, “Stuck In A Moment You Can’t Get Out Of.”
The set list included an array of U2 classics, paired with some newer cuts. Unfortunately, nothing was played from the Boy, October, Zooropa, or Pop albums. But then again, the lads can’t play all night. Something’s gotta give. No complaining though, as they played such gems as “Sunday Bloody Sunday” (paired with “People Get Ready”). The highlight for me had to be “The Unforgettable Fire,” from the 1984 album of the same name. This was their fourth release and the first one I had actually bought for myself (after a college friend shared War with me and hooked me on the band). When Bono sings, “Carnival, the wheels fly and the colours spin through alcohol / Red wine that punctures the skin / Face to face in a dry and waterless place,” I am transported back 25 years to the memory of buying that wonderful piece of vinyl. “MLK,” a song from the same album, was played as an intro to “Walk On.” This song was written in honor of Aung San Suu Kyi, the Burmese activist who has remained under house arrest since 1990 after being elected Prime Minister. She won the Nobel Peace Prize in 1991.
Following a taped message from Bishop Desmund Tutu, a set of two encores ensued. My second highlight was “Ultraviolet (Light My Way)” from Achtung Baby. It’s just one of those songs that I always liked and never really heard much on the radio. It sounded superb live. After much genuine thanks to fans throughout the night, and one final thank you to the fans, U2 left the building. As the house lights came up, the sound system played Elton John’s “Rocket Man” (another reference to the spaceship theme of the show). The only thing keeping this show from being perfect was the sub-par acoustics of the Georgia Dome. It’s just too big and not designed to host such an event. To fill that space, the band had the volume at a high level.
Opening the show – and giving the crowd a two-for-one deal – was England’s Muse. This is a band born to play the arenas, and have been waiting quite some time to “break” in America. Judging from the crowd reaction that night, it appears they already have, as well as the fact that their new album, The Resistance, debuted at number three on the Billboard charts. The trio of Matthew Bellamy, Christopher Wolstenholme, and Dominic Howard played like headliners and loudly introduced themselves to thousands of unsuspecting new fans.
To get the evening started, Muse came out strong with their heavy new single, “Uprising” (“They will not force us / They will stop degrading us / They will not control us / We will be victorious…so come on”). Their first flirtation with a hit in America, “Supermassive Black Hole” from 2006, dragged the crowd all the way in.
In Muse’s 45-minute set, they also performed “Undisclosed Desires” and the terrific “Starlight.” In my humble opinion, this is one of the best opening bands out there. Strike that, one of the best bands out there. Period.
U2 Set List:
Breathe
Get On Your Boots
Mysterious Ways
Beautiful Day
I Still Haven’t Found What I’m Looking For
Stuck In A Moment You Can’t Get Out Of
No Line On The Horizon
Magnificent
Elevation
Until The End Of The World
The Unforgettable Fire
City Of Blinding Lights
Vertigo
I’ll Go Crazy If I Don’t Go Crazy Tonight
Sunday Bloody Sunday
MLK
Walk On
Encore 1:
One
Amazing Grace
Where The Streets Have No Name
Encore 2:
Ultraviolet (Light My Way)
With Or Without You
Moment Of Surrender
Venue: Variety Playhouse, Atlanta
Support: Michael Tolcher
In the Company of: Chris, Joel C., Margo C., Nathan J., Alexa J.
At 56 years of age, Colin Hay has little to prove. Reaching the peaks of success in the eighties with his band Men at Work, Hay put together an impressive body of work. The band’s first album, Business As Usual, stayed in the top spot on the U.S. charts for fifteen weeks in late ’82 and early ’83.
After only three studio albums, Men at Work called it quits, paving the way for a Colin Hay solo career. Born in Scotland in 1953, Hay’s family moved to Australia when he was fourteen. So, it was a surprise for many when Hay spoke with a Scottish brogue when everyone knows he comes from a land down under.
Hay kicked off the show with “Oh California,” an ode to his adopted American home. In an effort to “sound like Cat Stevens,” he performed “No Time.” Hay is touring with the ultimate stripped down set: just an acoustic guitar and catalog of catchy tunes. Coming from the new wave/alternative rock scene of the early eighties, it’s a wonder his new sound works. But it does. The lead-off single from that first release, “Who Can It Be Now,” sounded as fresh and relevant today as it did twenty-seven years ago (“Who can it be knocking at my door? / Go away, don't come 'round here no more / Can't you see that it's late at night? / I'm very tired, and I'm not feeling right”).
While the music was outstanding, between-the-songs banter was brilliant. Hay is a master storyteller of the hilarious kind. Mostly talking about the early days, his family, and life in America, Hay had the crowd doubling over with laughter for what seemed like half the show. Yes, we paid to hear that pure, raspy voice sing those incredible songs, but this was like getting two shows in one.
He did his fair share of jabbing at contemporaries who, let’s just say, have enjoyed a little more success. Hay expressed his true admiration of Sting’s shoulders. “I mean, he’s an incredible singer and songwriter - ‘Roxanne!’ – but have you seen those shoulders?” And fun was also made of Sting’s name. He then went on to have a run on U2’s the Edge, and how Edge’s grandmother may have reacted to hearing his new nickname (“He’s calling himself what?”). Not coincidentally, Men at Work, the Police, and U2 were all vying for record sales at the same time. So, you may say Colin is a tad bitter, but I’d like to believe that he’s just having some fun.
Getting back into the music, Hay performed “Down Under,” which is to this day the most successful song he’s written (“Do you come from a land down under? / Where women glow and men plunder? / Can’t you hear, can’t you hear the thunder? / You better run, you better take cover”). “Water Over You” is an exceptionally beautiful tune written for Hay’s father.
A surprising side note to the evening was Hay’s incredible guitar ability. While not a key guitar player in his days with Men at Work, he ruled the frets this evening.
Every artist who’s ever gone solo from a successful band has that one (hopefully, at least one) single that defines his or her new venture. Arguably for Colin Hay, that song is “Beautiful World.” It seems to define the second chapter in his professional life, with an affirmative message on life. Hay sings, “My, my, my it’s a beautiful world / I like swimming in the sea / I like to go out beyond the white breakers / Where a man can still be free (or a woman if you are one) / I like swimming in the sea.” This one was a gem.
Then there was “Waiting For My Real Life To Begin,” which hints at a third chapter. Hay informed the crowd that this song referred to his wish that he could return to the glory days of his success (“Any minute now, my ship is coming in / I'll keep checking the horizon / I'll stand on the bow, feel the waves come crashing / Come crashing down, down, down on me”).
Before his final song, Hay shared with us his opinion on encores: they’re silly. “I’m just going backstage and stand there like a fool. How about I just stay here and do one more?” That one more was the wonderful “Overkill,” from 1983’s Cargo.
Opening the show was Atlantan Michael Tolcher, who like the headliner, offered up an acoustic set of beauties. Also like Hay, Tolcher has had his music featured on the TV series Scrubs. Telling the throngs at the Variety Playhouse about the call he received to open for Colin Hay, Tolcher repeated his answer to the caller: “Hell yeah! How much do I have to pay?”
After working with the likes of producer Will Turpin (Collective Soul), Tolcher has created a fine catalog of songs. “Sooner Or Later” is a beauty that you’ve probably heard (“Sooner or later / We'll be lookin' back on everything / And we'll laugh about it like we knew what all was happening / And someday you might listen to what people have to say / Now you learn the hard way”).
Tolcher’s smooth vocals and exceptional guitar work made him a crowd favorite. Catch him on the road if he comes to your city.
Venue: The Variety Playhouse, Atlanta
Supporting Acts(s): Chairlift
In the Company of: Thomas S.
It’s always a rush to see a band on the verge of success. So for most fans that night, it was pure excitement to witness the incredible sold-out show put on by this band from Versailles, France. Although Wolfgang Amadeus Phoenix is their fourth studio album, Phoenix have only recently enjoyed commercial success. Before joining Phoenix, guitarist Lauren Brancowitz played with the musicians who went on to form that robotic, electronic venture of Daft Punk.
But no testament is as convincing as experiencing a band live at the top of their game. The show kicked off with their ode to Franz Liszt, “Lisztomania.” Other tracks from their new release included, “Fences,” “Girlfriend,” “Love Like A Sunset, Parts I-II,” “Rome,” and “1901” (from the new Cadillac commercial). This song is pure adrenaline, with a fuzzy synth throughout and an addictive eighties vibe. “Lasso,” with its driving bass and drums, has Thomas Mars singing, “Where would you go, where would you go / Tied up to a lasso? / Could you run into, could you run into / Could you go and run into me?”
Mars seemed simultaneously shocked and moved at the love he was receiving from the Atlanta crowd. Most every song was followed by a roaring reception. He told the fans, “Last time we played Atlanta there were about forty or fifty people in the audience. But now…”
For the diehard fans, the band played a few oldies, including “Run Run Run,” “Consolation Prize,” and “Too Young.” Song after song, the bandmates seemed to be humbled by the sheer love coming from the floor. Mars had a look on his face that read, “This is the night we made it.” It was a special occasion and an overall fun concert. Before the band exited the stage, Mars told us all that this was one of the best shows so far on their tour.
One encore included “Everything Is Everything,” the incredible disco sounds of “If I Ever Feel Better,” and the current hit “1901.” As it was the last song, the band seemed to want to never leave the stage. Mars descended the stairs at the Variety Playhouse and made his way into the masses. He found a ledge on which to stand, gave some more thanks, then surfed his way back to the stage on a sea of hands. All this while the band jammed on. The world shall soon discover Phoenix and their perfect pop music.
Chairlift opened the show with some excellent indie-pop music. The band formed in Boulder, CO, but relocated to New York City where success quickly followed. You may have seen the iPod commercial featuring their song, “Bruises.” Headed by Caroline Polachek, this group provided the hungry Phoenix fans with something to smile about – which is a rare thing to do for a support act.
