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Archive for the ‘Kansas City Star’ Category

(Above: TV on the Radio perform “Could You,” a song from their newest album, on March 21, 2015, at the Midland Theater in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

TV on the Radio is no stranger to Kansas City. Nearly eight years ago to the day, the indie rock band delivered a transcendent performance at the Voodoo Lounge. They have returned twice since then, in support of their subsequent two releases.

Saturday night, the Brooklyn-based, indie rock band played at the Midland theater, their largest venue in town to date, in front of their biggest crowd.

The first five songs of the night all came from “Seeds,” the band’s latest album. They would return to it again twice more, and also perform a non-album single drawn from those sessions. A red strobe light enveloped the stage during opening number “Lazerray,” making the band look like a stop-motion video from the future.

Later, the red, green and yellow beams of light crossing the stage during the “Seeds”’ title track recalled the album’s cover. The chorus on that song sounds like a lost African proverb: “Rain comes down like it always does/This time I’ve got seeds on ground.” As singer Tunde Adebimpe repeated the uplifting message, the music slowly built in intensity, threatening to overwhelm the room.

Musically, TV on the Radio can be hard to pin down. At times they can sound like Peter Gabriel, as on set-closer “Staring at the Sun,” or Radiohead, or Joy Division. While there are some obvious touchstones — Bono would kill for the silky falsetto guitarist/vocalist Kyp Malone used on “Million Miles” — TV’s sound is generally too mercurial for a game of spot-the-influence. They are clearly pointing the way forward more than they are looking back.

The stage was set simply, with no screens or effects aside from the light show. Though frontman Adebimpe was energetic, the core quartet and touring drummer and keyboard/horn player stayed in place. Arranger/producer/jack-of-all-trades Dave Sitek stood at stage left behind a table of gadgets and next to a bank of synthesizers. He rotated between guitar and the rest of his tricks like the man behind the curtain.

Although the show was skimpy on older numbers (and questionably skimpy in general at just 15 songs and 80 minutes), predictably they were the ones that drew the biggest response.

“Wolf Like Me” inspired a feral sing-along. For the encore, the band went back to its two earliest singles, “Young Liars” and “Staring at the Sun.” Neither could be described as inspiring, but it was moving to hear the room come together in one voice.

If we are fortunate, TV on the Radio will return again in a couple years, with a new batch of songs to perform. We will miss the older numbers they displace, but not too much. After 15 years and six albums, they remain a band on the rise, with no horizon in sight.

Setlist: Lazerray, Golden Age, Happy Idiot, Seeds, Could You, Wolf Like Me, Trouble, Million Miles, Blues from Down Here, Winter, Dancing Choose, Love Dog, DLZ. Encore: Young Liars, Staring at the Sun.

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(Above: Bob Seger sings about life on the road during his March, 2015, tour stop in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

Bob Seger has never been shy about looking backward and taking stock. In his early 30s he reminisced about singing a song from 1962. Now on the cusp of his 70th birthday, Seger took Friday night’s crowded Sprint Center on a trip through musical memories that made him a wealthy soul.

Dressed in a black button-up shirt, jeans and black headband Seger looked more like someone ready to do yard work than put on a rock show. He performed a few songs sitting down, strumming an acoustic guitar, and a couple of numbers behind the piano, but for the most part he was all over the stage, pumping his fists in the air and leading singalongs — not that the energetic crowd needed any encouragement.

seger FYI 03202015 spf 0087fWhen Seger accidentally skipped a verse on “Turn the Page,” the singing masses blindly followed his flub, starting over only when he corrected the mistake. The way the line “Twenty years now/Where’d they go?” reverberated across the lips of everyone in the arena during “Like a Rock” made the song feel a little like a hymn.

These days, Seger’s Silver Bullet Band is a small army of more than a dozen musicians, including three female backing vocalists and a four-piece horn section. Although not everyone was on stage at the same time, there were always enough people out front that the stage seemed empty during a pared-down reading of “Against the Wind.” There were eight musicians onstage for that number.

Most of time, the songs sounded just like they do on the radio, a testament to both the strength of Seger’s voice and skill of the musicians. Lead guitarist Rob McNelley laid down a funky groove with his wah wah pedal on “Come to Poppa” and faithfully tore into the landmark slide guitar solo on “Like a Rock.”

It helped that several band members have been playing with Seger for decades. Bass player Chris Campbell came on board in 1969. Horn player Alto Reed joined three years later, and organist Craig Frost was hired in 1979.

The music received a few interesting tweaks. Reed’s saxophone replaced the traditional pedal steel on “Mainstreet” and “Night Moves.” Seger played piano and delivered the first half of “We’ve Got Tonight” alone. Although others eventually joined him, the stripped-down setting and sped-up tempo made the performance seem like a demo of the final product and proved the single didn’t need all the gloss and production it was given to reach the radio.

In a night full of highlights, the period when Seger left the stage and let his band stretch out during “Travelin’ Man” was the most exciting. McNelley and Jim “Moose” Brown traded guitar licks, giving the song even more punch than the familiar, now nearly 40-year-old live version. On cue, Seger emerged from backstage just in time to start “Beautiful Loser” and take the music in a new direction. The songs have been played together for so long it seems strange that they were originally recorded and sequenced separately.

New material usually gets the short straw from deep-catalog acts like Seger, but four songs from this year’s “Ride Out” got the spotlight. Seger talked about hearing Waylon Jennings perform “The Devil’s Right Hand” before delivering his new version of the Steve Earle song and revealed Stevie Ray Vaughan as the inspiration behind “Hey Gypsy.”

The “Night Moves” album was the crown jewel of the set list. Five of the nine songs from the 1976 classic were performed, including nearly all of the first side. Album cut “The Fire Down Below” doesn’t get much airplay, but the crowd still threw every word back to the stage.

Less than two hours after opening the night with “Roll Me Away,” Seger said good night by reminding everyone that “Rock and Roll Never Forgets.” That may be true, but the flip side — remembering — is more fun.

Setlist: Roll Me Away/Tryin’ to Live My Life Without You, The Fire Down Below, The Devil’s Right Hand, Mainstreet, Old Time Rock and Roll, It’s Your World, Come to Poppa, Her Strut, Like a Rock, Travelin’ Man/Beautiful Loser, All of the Roads, Hey Gypsy, We’ve Got Tonight, Turn the Page, Ramblin’ Gamblin’ Man. Encore 1: Against the Wind, Hollywood Nights. Encore 2: Night Moves, Rock and Roll Never Forgets.
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(Above: The Wailers perform Bob Marley’s eternal “Is This Love” at Glastonbury 2014.)

By Joel Francis
The Kansas City Star

Bob Marley has been dead for almost as long as he was alive, but his music isn’t going anywhere.

Several hundred fans flocked to the Uptown Theater on Friday night to hear the late reggae legend’s music performed by his former backing band, the Wailers. Although only one member of the current lineup performed and recorded with Marley, the band does an outstanding job of replicating Marley’s influential sound.

The arrangements stayed faithful to the recorded versions, making the rare moments when the band stretched out even more insightful. Guitarist Audley “Chizzy” Chisholm added a pair of inventive guitar solos to “Lively Up Yourself” and “Jamming.” Despite the band playing it safe, the songs remained encouraging, inspiring and, at times, confrontational.

Songs from “Legend,” Marley’s omnipresent greatest-hits package, drew the biggest responses. The opening notes of “Could You Be Loved” and “Jamming” were all it took to get everyone dancing. An enthusiastic call-and-response during the chorus on “Buffalo Soldier” pumped up the already energized crowd.

Chisholm and singer Dwayne Anglin performed alone for a stirring version of “Redemption Song.” The full band returned for an extended medley of “Exodus” and “Punky Reggae Party” to close the 90-minute set.

rusted root FYI 03132015 sp (4)Rusted Root, a five-piece band from Pittsburgh, mixes world instruments and rhythms with jam-band sensibilities. Its 100-minute opening set included two new songs and highlights going all the way back to the band’s 1992 debut album.

Standout moments included the propulsive “Rain,” a duet between lead vocalist Michael Glabicki and utility player Liz Berlin, who also played washboard. The hypnotic “Laugh as the Sun” found Berlin on pennywhistle. A reworked cover of “Suspicious Minds” opened with dueling bass and drums.

The set peaked with a massive romp that started with the Indian-tinged chant “Voodoo.” That led into a drum solo and jam, before working into “Ecstasy.” Everyone sang along with the closing number, “Send Me on My Way,” the band’s first and biggest hit.

Boston’s Adam Ezra Group started the night with a heartfelt half-hour set.

The Wailers setlist: Intro; Easy Skanking; Could You Be Loved; Lively Up Yourself; Survival; The Heathen; Rastaman Vibration; I Shot the Sheriff; Who the Cap Fit; Trenchtown Rock; Buffalo Soldier; Jamming; Encores: Redemption Song; Medley: Exodus/Punky Reggae Party.

Rusted Root setlist: Welcome to My Party; Martyr; Lost in a Crowd; Suspicious Minds; Tumbleweed; Food and Creative Love; Laugh as the Sun; Cover Me Up; Save Me; Rain; Voodoo (drum solo); Ecstasy; Send Me on My Way.

Keep reading:

Review: Toots and the Maytals, the Wailers

Review: Skatalites

Review: Jimmy Cliff

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(Above: Unplugged or electric, Los Lobos know how to move a crowd.)

By Joel Francis
The Kansas City Star

To celebrate how far they have come as a band over the last 40 years, Los Lobos went back to where they started.

Over the course of more than a dozen studio albums, the quintet from East Los Angeles has covered folk, blues, R&B, film scores, and traditional and experimental rock. For two hours on Friday night at Yardley Hall, the only English spoken came between songs, and there were no electric guitars in sight.

Instead, the set list focused on traditional Tex-Mex and Latin American songs, with a few originals tossed in for good measure. Despite their different sources, the material blended perfectly.

The songs also displayed different strengths and talents. Several showcased excellent three- and four-part harmonies. Guitarist David Hidalgo not only played violin during “El Gusto,” he also sang a lead vocal line that took him into falsetto on the chorus.

Perhaps the best singing of the night came during “Sabor a Mi.” The ballad allowed Cesar Rosas to show off a range and expression only hinted at on the band’s mainstream releases.

4006_loslobos_MARQUEE_SNP509546v1Taking the stage, spaced evenly in a single row across the front, Los Lobos opened with “Yo Canto,” a track from their latest album, 2010’s underrated “Tin Can Trust.” The song was typical of the night: rapid tempo, high energy and spot-on. In fact, the band slowed down only twice before pausing for a 20-minute intermission.

Behind the band rested enough guitars of different sizes and shapes to open a music store. Conrad Lozano, the only musician not to trade instruments throughout the night, played an acoustic bass so big it looked like a small rowboat slung over his shoulder with a short neck attached.

Steve Berlin was the night’s not-so-secret weapon. He didn’t play on every song, but his contributions added just the right color to the performance. He played two great soprano sax solos during “Borinquen Patria Mia” and “Bailar la Cumbia.” Berlin’s bass sax on “Chuco’s Cumbia” delivered the deep urgency that made the song hit even harder.

Several numbers were staples of Los Lobos’ earliest repertoire as a wedding and restaurant band. It wasn’t hard to imagine the band’s tip jar overflowing during the final three numbers of the night. “Volver Volver” finally got a few fans on their feet, while “Guantanamera” provided material familiar enough to sing with. Berlin also added a great flute solo on that one.

The quintet returned for a traditional reading of its biggest hit, “La Bamba.” The band has been playing this one since it hit No. 1 in 1987, but as the musicians traded verses and exchanged smiles it seemed no one, onstage or off, had gotten tired of it.

Setlist: Yo Canto, Colas, El Cascabel, La Pistola y el Corazon, Los Ojos de Pancha, El Cuchipe, Arizona Skies/Borinquen Patria Mia, Sabor a Mi, Pajarillo, El Gusto. Intermission. Los Mamonales, Cancion del Mariachi, Chuco’s Cumbia, La Feria de las Flores, Bailar la Cumbia, Mexico Americano, Ay te Dejo en San Antonio, Volver Volver, Guantanamera. Encore: La Bamba.

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(Above: The run from “Don’t Pass Me By,” “Yellow Submarine” and “Black Magic Woman/Gypsy Queen” was one of the strongest parts of Ringo Starr’s long overdue return to Kansas City in October, 2014.)

By Joel Francis
The Kansas City Star

The last time both Paul McCartney and Ringo Starr both performed in Kansas City in the same year they were onstage together at Municipal Stadium.

The Fab Four’s drummer gave his first performance in the area since 1992 on Saturday night, only three months after McCartney’s concert at the Sprint Center.

Starlight Theater wasn’t quite full, but judging from the crowd’s reaction to “Yellow Submarine” and “With A Little Help from My Friends” many people had waited a long time for this moment.

Several members of Ringo’s All-Starr band were also making belated returns. Bass player Richard Page congratulated the Royals for their playoff success and noted that last time he played Kansas City his band Mr. Mister was opening for Tina Turner, and the Royals had just won the World Series. Guitarist Steve Lukather said he couldn’t remember the last time he was here.

ringoNow in its 25th year and 13th iteration, the All-Starr Band works as a round-robin jukebox with each musician taking the spotlight, then introducing the next band member up. Guitarist Todd Rundgren was the biggest name on the bill aside from the headliner. While the other names may not have been as familiar, the songs they helped take to the top of the charts – “Rosanna,” “Evil Ways,” “Broken Wings” – definitely were.

The seven-piece band had the most opportunity to stretch out and show off on the Santana numbers – “Evil Ways,” “Oye Como Va” and especially “Black Magic Woman/Gypsy Queen” – lead by organist Gregg Rolie, a founding member of the Santana band. Lukather handled lead guitar duties for most of the night, but seem to save his best solos for those songs. Surprisingly, the band also jammed over a slowed-down Bo Diddley beat during Toto’s “Roseanna.” Rundgren’s “Bang on the Drum” incorporated a bit of “Low Rider” during Page’s bass solo.

The only unfamiliar song in the two-hour set was Page’s “You Are Mine.” Rundgren’s amazing guitar arrangement for the ballad showed why he has been an influential and in-demand producer for several decades.

As expected, the Beatles material and early Starr solo singles drew the biggest response. Starr opened and closed the set with a trio of songs and peppered another five in between. His contribution to “The Beatles” album (known as “The White Album”), “Don’t Pass Me By” was a fun surprise. Lukather, Rundgren and Page were clearly having a ball playing their hero’s songs. All three huddled together, sharing one mic on the choruses of “Boys” and “I Wanna Be Your Man.”

The night closed with the introduction of Billy Shears and “With a Little Help from My Friends.” As the song was winding down, the band jumped into John Lennon’s “Give Peace a Chance,” a fitting tribute to the man who has made peace and love his motto.

Setlist: Matchbox, It Don’t Come Easy, Wings, I Saw the Light, Evil Ways, Rosanna, Kyrie, Bang the Drum All Day, Boys, Don’t Pass Me By, Yellow Submarine, Black Magic Woman/Gypsy Queen, Honey Don’t, Anthem, You Are Mine, Africa, Oye Como Va, Love is the Answer, I Wanna Be Your Man, Broken Wings, Hold the Line, Photograph, Act Naturally, With a Little Help from My Friends > Give Peace a Chance.

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(Above: They aren’t the mountain chain associated with bluegrass music, but the Rockies are still an excellent backdrop for Chris Thile and Edgar Meyer.)

By Joel Francis
The Kansas City Star

One of the perks of being a cult artist is that you can count on a good portion of your audience to follow you anywhere. Barely a month ago, Chris Thile was onstage at the Uptown Theater celebrating the reunion of Nickel Creek, the influential bluegrass trio he helped found in the ’90s.

A good portion of that night’s audience likely followed Thile across town for his Kauffman Center debut on Thursday night. Acclaimed classical bass player Edgar Meyer joined Thile onstage in Helzberg Hall.

The hall was three-quarters full for the two-hour and 15-minute performance (including a 20-minute intermission.) Although the music occasionally recalled Nickel Creek’s buoyant acoustic melodies, Thile and Meyer quickly established their own identity.

The pair play a hybrid of classical, bluegrass and folk, equally at home on the couch after dinner or dressed up at a wedding.

The delicate bowed melody of “Monkey Actually” recalled banjo player Bela Fleck’s classical work. The connotation is appropriate, since both Meyer and Thile have worked with Fleck separately. Together, the pair earned a Grammy for their work with cellist Yo-Yo Ma.

Chris_Thile_and_Edgar_MeyerMuch of the evening focused on Thile and Meyer’s new album, “Bass and Mandolin.” The pair played all but two tracks from their second collaboration. Standouts included “Friday,” which sounded like both instruments were in a race, and the gentle “I’ll Remember for You,” which found Meyer on piano and Thile on guitar. “It’s Dark in Here” could have been a lost Rodrigo y Gabriela cut.

If albums like this had singles and radio had interest in playing anything like this, the enchanting “El Cinco Real” would be on every DJ and programmer’s desk in the country. Instead it will have to settle for a life of NPR bumper music.

The material’s musical intricacies were offset by the pair’s between-song banter and jokes. One running gag was how lazy the song titles were. After fretting that the audience might not be able to keep up with the show not knowing that “Ham and Cheese” and “Fence Post in the Front Yard” had been played, Thile casually referred to two Bach arrangements as cover songs.

One song had an intentional title. Meyer’s father introduced him to the jazz bassist Ray Brown when Meyer was a child. Later, Meyer learned that Brown once recorded a cover of “Doxie,” but unwilling to pay royalties to songwriter Sonny Rollins, Brown put a new melody on top of the same chord changes and called his number “FSR.” Meyer and Thile titled their tribute to Brown “FBR.”

After an improvised number the duo said since the piece changed every night, it should have a new title as well. They took several suggestions from the audience — “Swiss Cheese,” “Hole in My Sock,” “One Numb Toe,” “Succotash” — riffing on the ideas and sharing titles from other cities. In the end, Thile and Meyer decided they liked “Snuffleupagus” best.

After announcing the upcoming intermission, Thile joked that they had been counting people during the first half of the set and would notice if anyone snuck out.

“What Chris means,” Meyer said, “is we’re glad that each and every one of you is here.”

Setlist: Why Only One?, The Farmer and the Duck, Monkey Actually, Ham and Cheese, Friday, FRB, Canon, I’ll Remember for You, Fence Post in the Front Yard. Intermission. Tuesday, Tarnation, This is the Pig, Look What I Found, El Cinco Real, Snuffleupagus, Prelude, It’s Dark in Here. Encore: BM3.

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(Above: Matthew Sweet’s performance is definitely a time capsule.)

By Joel Francis
The Kansas City Star

Matthew Sweet is bringing it all back home.

The power-pop singer/songwriter grew up in Lincoln, Neb., but spent 20 years living in Los Angeles.

Last year he returned to his Midwest roots and moved to Omaha.

Around the same time, Sweet released a third volume of covers recorded with former Bangles singer Susanna Hoffs. The project focused on the 1980s and let Sweet play songs from his formative years as a music fan and musician.

Musically, he is returning home too. Sweet, who performs Tuesday at Knuckleheads, has been extensively revisiting his breakthrough album, 1991’s “Girlfriend,” along with its follow-ups, “Altered Beast” and “100% Fun.”

“I guess I have been a bit nostalgic lately,” Sweet said, revealing the idea to revisit “Girlfriend” came out of marking the album’s 20th anniversary.

“The crowds have been so happy to experience the feelings they had back then. It’s not a thing I feel weird about because it feels really natural and healthy.”

Sweet and Hoffs started their collaborative cover albums back in 2006. Each installment focused on a different decade, starting with the 1960s. The series concluded with the ’80s, the decade that saw Hoffs’ greatest commercial success with the Bangles and Sweet’s initial success in the music world.

matthewsweet“I graduated from high school in 1983,” Sweet said. “We covered XTC’s ‘Towers of London’ on our last album. I remember when I bought (the XTC album) ‘Black Sea.’ I definitely got to experience more connections like that on this album than the ’60s and ’70s projects.”

Four years passed between the second and third “Under the Covers” volumes. Sweet said their record label, Shout Factory, grew impatient waiting for the next installment.

“It took a long time for the ’80s volume to come together. We were like a year and a half late turning it in,” Sweet said. “Susanna and I still Skype tracks back and forth occasionally, but I feel the trio of albums will be it for us. We have not planned on doing a ’90s album.”

The 1990s were good to Sweet. After bouncing between labels and releasing a pair of albums in the late ’80s, Sweet found a home at Zoo Entertainment and started a run of critically acclaimed albums that also landed a handful of tracks in the Top 40.

Sweet moved from New York to Los Angeles to capitalize on his success.

“I’ve lived on both coasts and in the South,” Sweet said. “It’s been real comfortable to go back (to Nebraska). I’m rediscovering things I remember liking as a kid, like seasons. I’m a big fan of weather and nature, and it is amazing to experience distinct times of the year and see them change.”

Now back in Omaha, Sweet is no longer affiliated with a label. He plans to record at home, and his fans are helping.

Money for his 12th solo album eclipsed its Kickstarter goal of $32,000. The project’s funding closed Saturday. He’s now writing songs.

“I’m also going to make demos of every song, because I haven’t done it in forever because we’ve just recorded as we went. Those will be available for fans and also will let me pick and choose what I want to use,” Sweet said.

Fussing over demos is almost exactly opposite of the approach Sweet took on his previous solo album, 2011’s “Modern Art.” For that album, Sweet intentionally tried to keep his right brain out of the process, making up melodies and recording where his imagination took them.

“That was almost a stream-of-conscious process,” Sweet said. “I’d hum something into my iPhone, then overdub on that and build a whole song.”

Sweet hopes to have the Kickstarter album out in the spring. Right now there isn’t any new material to debut on tour, but Sweet hopes it won’t be long before he can play new songs.

“It’s been a long time since I’ve played Kansas City,” Sweet said. “Hopefully with me living just up the road now we can make it there more frequently.”

Keep reading:

The Man in (Frank) Black

Cake: John McCrea sees a future without music

The Evolution of Devo

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