It’s been a good year for music. New bands surfaced and old bands maintained. A good mix is healthy and necessary for even the most casual concertgoer. From the staying power of U2 and the English Beat to the fresh genius of Elbow and Phoenix, 2009 offered some wonderful live experiences.
Here they are, my top ten concerts of 2009, with excerpts from each of my reviews. Keep in mind, there were thousands of great performances in Atlanta and elsewhere. I can only comment on the ones I saw. I’ve alphabetized the list, as I couldn’t choose a favorite.
Elbow
One of the more uplifting and poignant moments of the night came with the brilliant “One Day Like This.” Uplifting because of Garvey’s lyrics; poignant because the fans knew, felt, and sang all the words…and they’re great words: “What made me behave that way? / Using words I never say / I can only think it must be love / Oh anyway, it’s looking like a beautiful day.” To hear that full Center Stage crowd singing in unison, “It’s looking like a beautiful day!” was exhilarating and I hated being the newcomer.
Listen: Visit: http://www.elbow.co.uk/
The English Beat
Margaret Thatcher has been out of the spotlight for several years. This, however, did not spoil the vibe of hearing “Stand Down Margaret” live. It still feels relevant these days as more and more Americans have discovered they have a voice in the political process. Original English Beater Dave Wakeling kicked off the show with “Whine and Grine / Stand Down Margaret” at the cozy Loft in Atlanta. It was loud, hot, and crowded…it was Ska.
Listen: Visit: http://www.thebeatuk.com/Home.html
Five Eight
Throughout the evening, Mantione seemed to be creating the set list from his head. He began several songs while Horowitz and Ferguson looked at each other perplexed as to what this song was. And song after song, they figured it out and joined in seamlessly. With comparisons having been made to the Pixies, Dinosaur Jr., and the Replacements, Five Eight will pull you into their own style and sound and leave you wanting more. With a new album in the works and a scheduled New Year’s Eve gig with the Modern Skirts back at Smith’s Olde Bar, these guys will get another chance to show everyone they’re still around.
Listen: Visit: http://www.myspace.com/fiveeight
Los Campesinos!
Gareth frequently channeled John Lydon (aka Johnny Rotten), which for a punk fan may be pure gold. He does, however, delve quite successfully into really rhythmic and hooky lyrics. The band amazed the audience with such gems as “Broken Heartbeats Sound Like Breakbeats,” “We Throw Parties, You Throw Knives,” and the contagious “You! Me! Dancing!” (“If there’s one thing I can never confess / It’s that I can’t dance a single step”).
Listen: Visit: http://loscampesinos.com/
Colin Hay
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.
Listen: Visit:
The Pains of Being Pure at Heart
Hailing from Brooklyn, New York, The Pains of Being Pure at Heart are enjoying that initial taste of success. Supporting their first full length, self-titled album (Slumberland Records), these shoegazers have received some critical acclaim. Commercial acclaim may soon follow. With a sound reminiscent of My Bloody Valentine, the Pains supply a wall-of-guitar sound and swift drumming accompanied by buried, sometimes unintelligible lyrics (not quite a “Murmur,” but some songs come close). All this with a sugary-sweet pop sensibility.
Listen: Visit: http://www.myspace.com/thepainsofbeingpureatheart
Phoenix
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.
Listen: Visit: http://www.myspace.com/wearephoenix
Sea Wolf
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.
Listen: Visit: http://www.myspace.com/seawolf
U2
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 awesomeness 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.
Listen: Visit: http://www.u2.com/index/home/
Walkenhorst & Porter
Fast-forward to 2009 and the CD release party for No Abandon. This is not the most upbeat selection of songs, but rather an attempt by the songwriters to take a look back as well as a look forward. As most middle-agers do, the singers are evaluating and reevaluating their lives – personally and professionally. The result is a wonderful snapshot that is easily accessible to the listener. Walkenhorst’s soulful vocals paint a vivid picture while Porter’s voice is the perfect complement. Walkenhorst and Porter were joined on drums by former Rainmakers drummer Pat Tomek, along with bassist Norm Dahlor from the excellent Celtic rock band the Elders.
Listen: Visit: http://www.myspace.com/walkenhorstandporter
Let’s hope 2010 will be as musically rewarding. Happy New Year!
For complete reviews, click on your band of choice in the righthand column.
Showing posts with label Colin Hay. Show all posts
Showing posts with label Colin Hay. Show all posts
Monday, December 28, 2009
Thursday, October 15, 2009
110. COLIN HAY, 10/1/09
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.
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