(Above: Modest Mouse perform “Dashboard” at the previous stop in Kansas City, at the Uptown Theater in March, 2009.)
By Joel Francis
The Kansas City Star
Early in his first visit to Crossroads, Modest Mouse singer Isaac Brock was quick to point out the venue’s most distinctive feature. After the second song, he told the sold-out crowd the band had a “super awesome” gift for everyone: they each got to take home a wood chip.
The six members of the indie rock band were so excited about their present they flubbed the first verse of the next song “We’ve Got Everything.” After taking a brief moment to regroup they returned to the number with increased fervor. It was the only misstep of the two-hour set that found the band growing stronger with each number.
The set opened with slow, droning intro to “Gravity Rides Everything,” which gave way to a gentle wash of acoustic guitar. With three guitarists and two drummers, Modest Mouse’s songs were never lacking in texture. Frequently the band went one step further, substituting banjo, violin and keyboards. During “Gravity,” Brock held his acoustic guitar up to the speakers a la Pete Townshend for a nice burst of feedback. The combination of two trumpets and Brock’s banjo on “King Rat” and “Devil’s Workday” created a kind of demented Dixieland.
While two of the band’s biggest songs – “Float On” and “Florida” – were absent, they weren’t missed. The opening bars of nearly every number were greeted with huge cheers of recognition, regardless if it was a single like “Dashboard” or album cut like “Paper Thin Walls.” The 18-song setlist was democratically split between the band’s three most recent albums, with a few added nuggets. There was very little chatter during songs in the crowd or between them onstage; the music captured everyone’s attention.
“Whale Song” featured a lengthy opening and Brock’s signature guitar style. Brock has a way of bending notes while hitting them with the whammy bar that makes his guitar sound like a drunken Jew’s harp. Although touring guitarist Jim Fairchild, formerly of Granddaddy, shared the stage, Brock chose to do most of the heavy lifting. After “Whale,” each song seemed to build on the intensity of the previous performance. By “Devil’s Workday,” which featured another great stinging solo from Brock, and “Tiny Cities Made of Ashes” the band was cranking at 11.
That intensity made “Fire It Up” seem even more low-key, with the entire band riding Eric Judy’s loping bass line. “Blame it on the Tetons” had a gentle, folksy feel supported by Tom Peloso’s violin. New song “Here’s To Now” also featured Peloso’s fiddle, which had everyone clapping along to the two-step rhythm.
The biggest contrast of the night, however, may have been the response to “Parting of the Sensory.” Brock could never be mistaken for an optimist, but the audience danced and sang along to the nihilistic refrain of “someday you will die and somehow something’s going to steal your coffin” like it was the Jackson 5. It would have been the perfect ending, but the band had one more treat in “Black Cadillacs.” Even without the souvenir wood chip, it wasn’t a night anyone will soon forget.
Setlist: Gravity Rides Everything; The View; We’ve Got Everything; King Rat; Here It Comes; Fire It Up; Whale Song; Paper Thin Walls; Here’s to Now (new song); Baby Blue Sedan; Dashboard; Satin in a Coffin; Devil’s Workday; Tiny Cities Made of Ashes; Encore: Blame It On the Tetons; Third Planet; Parting of the Sensory; Black Cadillacs.
(Below: Don’t mess with Isaac Brock.)