Category: Kansas City Star

Concert Review: Wakarusa Music Festival (2008)

by thedailyrecord, posted in Concert review, Kansas City Star, Wakarusa Music Festival

Above: The Flaming Lips “Race for the Prize” at Wakarusa 2008.

By Joel Francis

The Kansas City Star

Arrested Development – Friday afternoon, Revival Tent

The sound of Arrested Development warming up was funky enough to send a crowd scrambling to the Revival Tent and its ankle-deep mud, but the group had trouble keeping them there.

The group’s Afrocentric rap harks back to De La Soul’s daisy age and capped a three-act run of hip hop in the Revival Tent, including Blackalicous and Del tha Funky Homosapien. Their low-key approach had difficulty translating to the half-populated tent, but part of the problem could have been the 15-plus years since the band last hit the area.

Flanked by two vocalists and backed by a guitarist, DJ and rhythm section, MC Speech warmed the crowd up on a couple newer numbers before heating the crowd up with “Fishin’ 4 Religion” and a spirited gospel arrangement of “Tennessee.”

Fans who weathered the bass solo were treated to a karaoke romp through “Billie Jean” and a full-band cover of “Redemption Song.”

Although the set’s energy lagged at times, the greatest hits still sounded, well, great. “Mr. Wendall” is still as fun and timely as it was nearly 20 years ago. The closing one-two of “Mama’s Always Onstage” and “People Everyday” had a sea of smiling faces hoping it wouldn’t be another half-generation until the next show.

Flaming Lips – Friday night, Sun Down Stage

The Flaming Lips performed nearly the same show at their Wakarusa debut two years ago. Damn if it didn’t work just as well the second time.

Flanked by a horde of Teletubbies, the band took the stage as front man Wayne Coyne rolled over the crowd in a giant hamster ball. “Race for the Prize” kicked off the night as confetti, streamers and smoke snowed over the crowd.

It would be easy to get lost in the spectacle of a Flaming Lips concert and forget about the band onstage if the music wasn’t so good. “The Yeah Yeah Yeah Song” rocked so hard that Coyne himself called it “glorious.” The group funneled their anger and passion for a better America after the November elections into a devastating version of “The W.A.N.D.” that was prefaced by an anti-war airing of “Taps.”

The quartet also got some help from their fans. Coyne encouraged the crowd to get naked during their cover of “The Song Remains the Same” and a half dozen women jumped onstage and took him up on the offer. Spontaneous fireworks from the back of the lawn punctuated the trippy “Pompeii am Gotterdamerung” and heightened the atmosphere of “Vein of Stars.”

The night ended with “Do You Realize.” A million pieces of yellow and orange confetti falling from the sky created a nice cinematic moment that made the song sound even more majestic than usual.

Set List: Race for the Prize/Free Radicals/The Song Remains the Same/Fight Test/Mountain Side/Vein of Stars/Yoshimi Battles the Pink Robots (pt. 1)/Pompeii am Gotterdamerung/The Yeah Yeah Yeah Song/Taps->The WAND/She Don’t Use Jelly/(encore:) Do You Realize

“Christmas On Mars” – Friday night, the Flaming Lips tent

The chance to catch a band-hosted screening of the Flaming Lips’ seven-years-in-the-making movie “Christmas on Mars” overpowered the need for sleep for many Wakarusa campers.

Shortly after the Lips’ spectacular set on the Sun Down Stage, 200 fans lucky enough to snag a free ticket earlier in the evening were ushered into the band’s large “Eat Your Own Spaceship” tent. Inside, it felt a lot like summer camp. Everyone sat on long wooded benches and roadies handed out popcorn.

After a short personal introduction from lead Lip Wayne Coyne and a longer recorded interview, the film finally started around 1 a.m.

The movie follows the descent of paranoia and psychosis on a crew of astronauts in their Martian space station on Christmas Eve. Multi-instrumentalist Steven Drozd plays the main astronaut while Coyne portrays an emerald-hued, antennae-sporting Martian who swallows an asteroid, is detained by the space crew and then forced into the role of Santa Claus.

The results are pretty much what you’d expect from a group with no acting or screenwriting background, paying for their production as they go. Fans started sneaking out almost as soon as the rock-show volume movie started. When I finally succumbed an hour into the movie a herd of fans were seated on the ground outside the tent for the next showing. Live and learn.

Ozomatli – Saturday afternoon, Sun Down Stage

Listening to Ozomatli is like flipping through a National Geographic. The L.A.-based band deftly mixes traditional South American music with African rhythms, hip hop, rock and a splash of Indian raga.

Opening with consecutive songs in Spanish could be an obstacle for some bands, but Ozomatli’s groove needs no translation. Although a moderate crowd had gathered on the lawn in anticipation of the set, each song saw more arms raised as the multitude grew.

The septet kept the energy high for all of its 90-minute set, from the Indian-influenced improvisation on “Believe” to the straight hip hop of “City of Angels” and vibrant African rhythms of “Como Ves.”

Ozomatli is not only proficient with different styles of music, but its members all play more than one instrument. This broadens their palate even further. The clarinet solo introducing gave “Cumbia de los Muertos” a Yiddish flavor, while the horns on “Magnolia Soul” added a New Orleans feel.

The appearance of Tre Hardson, aka Slimkid3 of the Pharcyde, who has been touring with the band since last winter, was an unexpected treat. He led the band through a great cover of “Passing Me By” that drew big cheers from the crowd.

Porter Batiste Stolze – Saturday afternoon, Sun Up Stage

Porter Batiste Stolze was more than 30 minutes into their set when Ozomatli wrapped up. I entered just in time to hear the band roll into a faithful cover of “Like A Rolling Stone” with a sidestepping backbeat that definitely gave the drummer some.

In front of me a father and son stood with their arms on each other’s shoulders, belting out every word with absolute delight. Proud mom looked on, her face radiant.

The Dylan cover gave way to the booty-shaking, Bo Diddley beat of “Not Fade Away,” which, in turn, fed into “Little Liza Jane.” No matter how many gnarled honky tonk guitar licks Brian Stolze threw at his band mates, George Porter, Jr.’s bass kept things funky while drummer Russell Batiste, Jr. shuffled the beat like a Vegas card dealer.

The New Orleans-based trio honed their chops together as in-demand session musicians, and worked Art Neville as three-fourths the Funky Meters until 2005. PBS’ three-part harmonies and musical sensibilities sounds like The Band filtered through Kool and the Gang and given a late-night run on Bourbon Street. They touched on nearly every style of American music in the half hour I heard, and could groove on them all.

Jennie Arnau – Sunday morning, Sun Up Stage

From a distance, Jennie Arnau sounds a lot like Kathleen Edwards. Both have mournful country vocals supported by muscular rock hooks. Up close, however, Arnau’s alt-country sound is less plaintive than Edwards and owes as much to Fleetwood Mac as it does to Emmylou Harris.

Backed by a four-piece band, the blonde South Carolinian performed four songs from her latest album, “Mt. Pleasant,” and one song from each of her last three.

While Arnau’s “Float On” is not a Modest Mouse cover, its buoyant melody should please fans of Edwards, Neko Case and Caitlin Cary. Set closer “You’re Not Alone” is the type of song that Sheryl Crow should be doing. It ended the show on a strong note.

While late morning, closing day festival gigs are never coveted, the two dozen folks who showed up for Arnau’s set seemed genuinely appreciative of the music and pleased by the 45 minute performance that held nothing back. Hopefully Arnau will be invited back at a better time slot and in front of the bigger audience she deserves.

Ivan Neville’s Dumpstaphunk – Sunday afternoon, Sun Down Stage

Dumpstaphunk know how to ride a groove and aren’t afraid to hop on at a moment’s notice with several hundred hip-shaking hitchhikers in tow.

Opening with the aptly titled instrumental “Stinky,” the band quickly drew a dancing crowd to the lawn in front of the stage. By the time their hour-long set reached its midpoint the congregation had easily doubled.

With staccato riffs from his Hammond organ, Ivan Neville led the quintet through songs like “Shake It Off” and “Ugly Truth” that sounded like a streamlined, less bizarre P-Funk.

While vocal responsibilities shifted, they were always soulful. Between songs, Tony Hall would sometimes abandon fellow guitarist and Ivan’s cousin Ian Neville, and drop one string and several octaves to add another bass guitar and even more bottom to the sound.

Dumpstaphunk aired their views on the handling of their native New Orleans in “Meanwhile.” Easily the most fun Hurricane Katrina protest song to date, the band’s philosophy was summarized with the chorus “might as well have a good time/it might be the last time.”

Although, many of its members have worked with Ivan Neville’s father Aaron and the Neville Brothers, Dumpstaphunk is firmly rooted on The Meters side of the family tree.

Keep Reading:

Wakarusa Music Festival (2007)

Wakarusa Music Festival (2006)

Wakarusa Music Festival (2005)

Radiohead Rock St. Louis

by thedailyrecord, posted in Concert review, Kansas City Star
(Above: Radiohead perform “Paranoid Android” in St. Louis.)

By Joel Francis
The Daily Record


Radiohead is more a like sect than a band. Its fans are the most passionate and devoted outside of the jam scene. Theirs are a holy grail of concerts: They tour frequently enough to be accessible, but not often enough to be taken for granted.

It was not surprising to find the lawn at the Verizon Wireless Amphitheater in St. Louis dotted with Royals and Jayhawks apparel from devoted fans who trekked across the state or farther to catch their band in its first area performance in five years.

The evening started with the subdued intro of “All I Need,” which slipped into the more energetic “Jigsaw Falling Into Place.” Both tracks were from their latest album “In Rainbows,” which they would play in its entirety, though not in order.

The unquestionable high point for me was a transcendent reading of “Fake Plastic Trees”; then again, everything from “The Bends” and “OK Computer” albums drew strong response. The performance of “Myxomatosis,” off “Hail to the Thief” was also particularly inspired. The congregation hung on every note: There was little talking in the crowd; and the beer lines were short.

In concert, Radiohead is an altered beast from its studio counterpart. On record, the band strives for (and gets close to) perfection. There’s no trace of this fussiness on stage, where the songs are more raw, visceral and immediate. Guitarist Jonny Greenwood ripped into the opening riff or “Airbag” with punk energy. Similarly, the guitar line to “15 Step” was slinkier and sexier than it comes across on album.

Radiohead’s influences also shine brighter on stage. A stripped-down reading of “Everything In Its Right Place” showed hints of Stevie Wonder on the electric piano. “Bangers + Mash,” a cut from the “In Rainbows” disc-box bonus CD, found frontman Thom Yorke on a second, smaller drum kit and sounded like a lost Rage Against the Machine B-side.

“Idioteque” sounded straight out of the Manchester club scene and prompted an inspired dance from Yorke. “Faust Arp” found Yorke and Greenwood alone on stage duetting at the same mic like John and Paul over a melody that split the difference between “Blackbird” and “Julia.”

The stage was dressed simply with dozens of descending LED pool noodles and a video board spotlighting the band members. The luminescent stalactites rippled and shimmered with light either splashed across them or projected through them. It was a pretty cool effect, but one the band thought would not transfer over the venue’s cameras. It wasn’t the greatest to be stuck on the lawn and learn that, at the band’s request, the amphitheater video screens would not be used, but it was nice to be able to view their presentation in its entirety.

By the end of the night I was feeling euphoria and exhaustion. Euphoric from the energy of what I’d just witnessed, but exhausted from its sustained intensity. I could have either guzzled an energy drink and stayed up writing all night a la Kerouac or “Tarantula”-era Dylan or slipped right into slumber. I chose the latter.

Set list: All I Need, Jigsaw Falling Into Place, Airbag, 15 Step, Nude, Kid A, Weird Fishes/Arpeggi, The Gloaming, You and Whose Army?, Idioteque, Faust Arp, Videotape, Everything in Its Right Place, Reckoner, Optimistic, Bangers + Mash, Bodysnatchers (Encore 1): Exit Music (for a film), Myxomatosis, My Iron Lung, There There, Fake Plastic Trees (Encore 2): Pyramid Song, House of Cards (/No Surprises), Paranoid Android

(Below: “Fake Plastic Trees” in St. Louis)

Concert Review: George Clinton heats up cold night

by thedailyrecord, posted in Concert review, Kansas City Star

George Clinton in concert

By Joel Francis

The Kansas City Star

George Clinton’s show hasn’t changed much over the past several years, but that hasn’t stopped him from continuing to attract new fans.
Saturday night’s show at Crossroads KC marks the third time Clinton’s Parliament-Funkadelic have performed in Kansas City in the last four years, and each time the legion of hands branded with an “X” – signifying under 21 – is prevalent.
The forecast of a chilly evening – temperatures dipped into the 40s – and rain didn’t keep the lot behind Grinders from filling up over two-thirds with a crowd that cut through every demographic in the city.
The band opened with “Funkentelechy” followed by “Bop Gun.” Clinton wouldn’t emerge in his rainbow dreadlocked-glory for another half hour, but his crew of funksters were more than capable of keeping the music and spectacle rolling in his absence.
Parliament-Funkadelic shows may be closer to a three-ring circus than a traditional concert. Onstage at any moment are longtime band leader Garry “Diaper Man” Shider and backing singers dressed like roller girls and buffalo soldiers. Toss in characters like the Poo Poo Man, a pimp in zoot suit who lead the band through a James Brown tribute they’ve been doing since before Brown died, and Sir Nose, a dancer and agitator, and you’ve got a cross between Cecil B. DeMille’s cast of thousands and Ken Kesey’s Merry Pranksters.
Of course having a first-class catalog doesn’t hurt either, and Clinton’s stable is definitely up to the task. The philosophy is simple: if you have something to add to the song, go out and play it. If not, get off the stage and make room for someone who does. The result can be up to six guitars wailing away on the metal instrumental “Maggot Brain” or horns and keyboards leading a charge through “Tear the Roof off the Sucker” and “Up for the Down Stroke.”
Though the predicted rain never appeared, when the wind picked up around the two-hour mark the crowd thinned so quickly it was like watching time-lapse video. The hearty souls who stuck around for the final hour were treated to a devastating medley of “Standing on the Verge of Gettin’ It On,” “Pumpin’ It Up” and a cover of Chuck Brown’s go-go classic “Bustin’ Loose.”
The evening ended with Clinton and nearly all of his two dozen musicians onstage for “Flashlight” and a ferocious “Atomic Dog” with several audience members dancing up alongside the group. There were so many people onstage it was hard to differentiate the band from the audience. But maybe that was the point. We were “One Nation Under A Groove.”

Concert Review: George Clinton, May 6, 2005 at the Beaumont Club

Feature: George Clinton is bringing the funk

Concert review: George Clinton (2007)

Review: George Clinton and the P-Funk All-Stars (2009)

Bruce is Bigger than Big 12 Tourney

by thedailyrecord, posted in Concert review, Kansas City Star

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By Joel Francis

The Kansas City Star

With the Big 12 tourney reigning in Kansas City, Bruce Springsteen and the E Street Band commandeered Omaha’s empty arena for nearly three hours of musical magic on Friday night.

Springsteen opened with “No Surrender” and kept his foot on the gas for the rest of the night. Although the band played three-quarters of last year’s album, “Magic,” they didn’t shy from their late-‘70s glory days. The new material meshed with the old well. In short, it all worked and it all kicked ass.

The ballads were just as affecting as the barnburners. Violinist Soozie Tyrell duetted with Springsteen for a beautiful reading of “Magic” accented by guitarist Nils Lofgren’s flamenco-like fills. Bass player Garry Tallent added a captivating countermelody to “The River,” which was haunted by Springsteen’s falsetto vocals. “Waitin’ On A Sunny Day” found the band armed with acoustic guitars and leading the audience in a campfire sing-along.

After a short sermon updated from his pro-John Kerry, “Vote For Change” tour, Springsteen dedicated “Living in a Future World” to his “Vote For Change” tourmate, local boy Conor Oberst. Oberst himself popped up nearly an hour later during the encore to lend his voice to “Thunder Road,” but was woefully unprepared to keep up with The Boss. Oberst nervously paced in circles around guitarist Little Steven Van Zandt, and flubbed most of his lines. Fortunately, everyone else in the arena had the lyrics down and picked up the slack.

There were several surprises tucked into the 25-song set, but none was bigger than “Jungleland.” Saxophonist Clarence Clemons looked shaky throughout the night – he frequently took breaks in a large easy chair positioned near the back of the stage – but he and pianist Roy Bittan delivered a riveting performance of arguably Springsteen’s greatest song. That was followed by a throwback romp through the “Detroit Medley” led by drummer Max Weinberg. Springsteen said they hadn’t performed this one in a while, and he proved his point by fumbling with some of the lyrics. Earlier in the night, the band reclaimed “Because the Night” from Patti Smith.

Two E-Street mainstays were M.I.A. Springsteen’s wife Patti Scialfa was at home tending to the family, and Danny Federici is receiving treatments for melanoma. His organ bench was ably filled by Seeger Sessions tour alum Charles Giordano.
For a man who named his sixth album after Omaha’s home state, Springsteen and the E Street Band haven’t been frequent visitors. Springsteen said this was their first visit in 30 years, and his only musical nod to “Nebraska” was a boogie version of “Reason to Believe” that sounded like it was arranged by John Lee Hooker and Canned Heat.

The house lights came up for “Thunder Road” and “Dancing in the Dark” before the night ended with “American Land,” a Irish-flavored original that brought St. Patrick’s Day a few days early.

Setlist:
No Surrender/Radio Nowhere/Lonesome Day/Adam Raised A Cain/Gypsy Biker/Magic/Reason to Believe/Because the Night/She’s the One/Living in a Future World/Promised Land/Waitin’ On A Sunny Day/The River/Devil’s Arcade/The Rising/Last To Die/Long Walk Home/Badlands//ENCORE: Girls In Their Summer Clothes/Thunder Road (with Conor Oberst)/Jungleland/Detroit Medley/Born to Run/Dancing in the Dark/American Land

omaha-setlist.jpg

Keep Reading:

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Bruce Springsteen and Tom Morello – “The Ghost of Tom Joad”

Review: Springsteen’s “Dream” Needs More Work

Springsteen in the Waiting Room: Drop the Needle and Pray

Springsteen Rocks the Hall (part 1)

Springsteen Rocks the Hall (part 2)

More Bruce Springsteen on The Daily Record

Claypool hits the jackpot on casino debut

by thedailyrecord, posted in Kansas City Star

les-claypool.jpg

By Joel Francis
The Kansas City Star

A sold-out and animated crowd renewed Les Claypool’s faith Monday night at Harrah’s Voodoo Lounge.

“I’ve never played a casino before,” Claypool confessed to the crowd toward the end of his set. “I was thinking ‘What’s next, is Claypool going to be playing Branson?’”

Judging from their response, most of the crowd would have been more than happy to travel the three hours to see the bass-playing legend. Claypool’s done quite well following his eclectic muse for the past 20 years, and it saw him through this betting-hall debut.

For a shade over two hours Claypool led his quartet – drummer Paulo Baldi, Skerik on saxophone and sometime Malachy Papers collaborator Mike Dillon on percussion – through a bizarre but upbeat mélange of prog funk free jazz.

That looks like a head-scratcher on paper, but it works surprisingly well in concert. Each player has a well-defined role and knows how to walk the line between the experimental and excruciating. The result may not be for the uninitiated, but it is more accessible than imagined.

The quartet hit their stride with the third song, “David Makalaster.” The band stretched the song to nearly 10 minutes, with each instrument adding new textures and layers.

In a way, this was the template of the night. Claypool would narrate a couple verses of a song and then the group would explore every nook and cranny of what it had to offer. While this is the province of many a jam band – and no doubt there were many jam fans present – Claypool has enough variance in his catalog that the songs never felt  the same.

The credit for this goes to the drummers. Their propulsive interplay kept the group moving forward and made the explorations hypnotic, not repetitive. The light-speed synergy between the two percussionists, who were briefly joined by a third, unnamed guest, created the illusion of an invading drum corp. Drum solos are usually the time for a beer or bathroom run, but when Claypool ceded the stage to the percussion, it drew the biggest cheers of the night.

Claypool keep the songbook focused on his most recent efforts with the Frog Brigade and his 2006 solo album, “Of Whales and Woe.” Set closer “D’s Diner” flirted with hip-hop, and Claypool returned for an unaccompanied stroll through Primus’ “American Life.” When the full band returned for a Black Sabbath cover Claypool bypassed “N.I.B.,” which Primus covered several years ago, in favor of “Electric Funeral.”

Claypool has made a career of blending the disparate. He’s wise and faithful enough to know better than to pander to new fans, but he does know how to make the existing ones very happy. Even if it means playing a casino.

Review: Wilco Wows at Crossroads KC

by thedailyrecord, posted in Concert review, Kansas City Star

wilco_x3.jpg

By Joel Francis

The Kansas City Star

In front of a sold-out, rapturous crowd Saturday night, Wilco closed out the inaugural concert season at Crossroads KC at Grinder’s with a perfect performance from a band at the peak of its powers.

Wilco performed as many songs – four – from its first album, “A.M.,” released back in 1995, as its current one, “Sky Blue Sky.” Those albums are different creatures, but the transition was seamless. While the crescendo and subtlety of “Hate It Here” stood in sharp contrast to the straightforward rock of “Box Full of Letters,” the juxtaposition of each song actually made them reinforce each other.

Wilco’s compulsion to explore the dark corners of its songs brought an energy and freshness to the performance. Show opener “Via Chicago” was a perfect balance of power and nuance and noise and melody. The song started quietly, but a cacophony erupted during the chorus when each band member blasted away independently on his instrument before suddenly rejoining the ensemble for the verse.

Nearly two hours after taking the stage the sextet re-emerged for a second encore, which featured the nonstop haymaker punches of “Red-Eyed and Blue,” “I Got You,” “Casino Queen” and “Outtasite (Outta Mind).” Already excited, the audience was whipped into a joyous frenzy that found many bouncing up and down involuntarily.

If the audience was delirious, the band was having as much fun. Jeff Tweedy broke into a hambone dance during “Hummingbird,” bass player John Stirratt frequently jumped around the stage, and Pat Sansone struck a Pete Townshend pose with a couple windmill strums on his guitar during “Outtasite.” Even the sound guys were bobbing their heads.

The show also demonstrated why in just one summer Crossroads KC has become the city’s best outdoor music venue. The capacity grounds were crowded, but not uncomfortable. The promoters probably could have packed another 100 people inside.

Thanks to loads of fresh mulch laid down by the grounds crew, the turf was firm and dry despite a hard rain that began before dawn and lasted until noon. In an age of skyrocketing ticket prices Crossroads KC has hosted several of the summer’s best performers at prices that don’t require a second mortgage or even a second thought.

The evening ended with a ferocious delivery of “Spiders (Kidsmoke),” which culminated in a fireworks display and a gentle jab from Tweedy at the opening act at the Sprint Center, just a few blocks north: “Take that, Elton John.”

Set list: Via Chicago/Company on my Back/You Are My Face/I Am Trying To Break Your Heart/Pot Kettle Black/Handshake Drugs/Side With the Seeds/A Shot in the Arm/She’s A Jar/Impossible Germany/Pick Up the Change/Box Full of Letters/Jesus, etc./Too Far Apart/Walken/I’m the Man Who Loves You/Encore 1: Hummingbird/Hesitating Beauty/Hate It Here/Heavy Metal Drummer/Encore 2: Red-Eyed and Blue/I Got You (At the End of the Century)/Casino Queen/Outtasite (Outta Mind)/Spiders (Kidsmoke)

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Review: Taj Mahal at Crossroads

by thedailyrecord, posted in Concert review, Kansas City Star

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Blues for Tourists and Purists

By Joel Francis

The Kansas City Star

Blues legend Taj Mahal put on a performance as grand as his namesake Friday night at Crossroads KC.

The Taj Mahal Trio opened with an instrumental that showcased Mahal’s tasty fretwork. Mahal may not win a notes-per-minute competition, but few musicians are as articulate on their instruments.

From there the trio delivered 90 minutes of great blues that was firmly rooted in the genre’s sharecropping/plantation origins, but wasn’t afraid to detour into world music and pop melodies. The result was an evening that pleased both the tourists and the purists.

The set started strongly with “Done Changed My Way of Thinking,” and “Checkin’ Up on My Baby,” which featured Mahal on a hollow body electric guitar. “Blues With a Feeling” found Mahal seated behind a keyboard and delivering part of the song in French. Mahal’s instrument of choice often played the dual role of both the seducer and the seduced, and he wasn’t afraid to sprinkle dirty old man jokes between numbers or moan in a rasp that recalled Howlin Wolf to make his point.

The highlights came when Mahal strapped on an acoustic guitar and performed, in succession, “Fishin’ Blues,” “Queen Bee” and “Corrina.” He said good night, but within a few minutes he started strumming “M’Banjo” and then led his rhythm section through a spirited “You’re Gonna Need Somebody On Your Bond” and “Lovin’ In My Baby’s Eyes,” a beautiful pop ballad that in an alternate world would have been a big hit.

The biggest disappointment of the evening was the turnout. Crossroads was only a third full — about 700 people — and most of the crowd resembled the lot that used to turn up at the old Grand Emporium. Mahal deserved a wider audience, but those who were there knew they were lucky to be hearing a legend, still in his prime, do what he does best.

Modest Mouse: Johnny Strikes Up the Band

by thedailyrecord, posted in band feature, Kansas City Star

Modest Mouse

The Kansas City Star 

By JOEL FRANCIS

Isaac Brock says he isn’t surprised that Modest Mouse hit the mainstream a few years ago. Maybe that’s because he doesn’t really think about it.

“I don’t ask myself why people like an album,” said Brock, who founded the band in 1993. “Thinking about those things doesn’t take up as much of my mental sphere as cleaning my floor.”

In 2004 the band went from underground status to platinum-sellers with “Good News for People Who Love Bad News.”

When it came time to work on the follow-up, “We Were Dead Before the Ship Even Sank,” Brock didn’t worry about what anyone would expect: longtime fans, Top 40 scenesters or record executives at Sony. His lack of concern paid off. Even with two new faces in the band — former Smiths guitarist Johnny Marr and prodigal founding drummer Jeremiah Green (who quit in 2003) — the record has been a success.

“For me … it’s counterproductive to think about that stuff,” Brock said. “Somehow we are able to leave all of that at the studio door and start from scratch.

“People assume since Johnny’s in the band he’s changed how we did things. But there are six people in this band, and everyone contributes in their own way. We all do it.”

In other words, don’t come to the show expecting “The Queen Is Dead, Part II.”

“It’s a funny thing,” Brock said. “There will definitely be people who show up based on the premise that Johnny is in the band. But our shows are going to be a lot uglier than what the Smiths did.”

Still, Marr’s contributions influence more than the songs he worked on in the studio. Brock said Marr’s impact on the older material is noticeable.

“That’s where we’ve gotten a lot stronger,” Brock said. “I told him that on any song he didn’t have to play it as it had been played before. Make your own canvas. It would have been a waste if I didn’t let him make his own imprint.”

While Marr’s arrival to the Mouse has generated most of the publicity, Brock also welcomed founding drummer Green back after a one-album absence.

“He just needed to take a break,” Brock said, declining to elaborate on why Green left other than saying he “went out of town for a while.”

“Everyone who leaves is welcome to come back,” Brock said, “with some exceptions.”

Brock said he was surprised at the synergy Green has with Modest Mouse’s second drummer, newcomer Joe Plummer.

“We brought Joe in to play percussion, but the way he and Jeremiah have been playing together as drummers is very cool,” Brock said. “It’s much more interesting than I ever expected.”

Making music that is interesting is the only gauge Brock has for his artistic process.

“It would take a change in who I am for me to care too much,” he said. “I’m not much interested in much other than being who I am.”

Concert Review: Wakarusa Music Festival (2007)

by thedailyrecord, posted in Kansas City Star, review, Wakarusa Music Festival
(Above: An areal view of the Wakarusa Nation at Clinton Lake State Park near Lawrence, Kan. in 2007.)

 

By Joel Francis
The Kansas City Star

Michael Franti and Spearhead, Sun Down Stage

Michael Franti brought his political party to Wakarusa Sunday night. Its platform is both progressive and accessible: share love, be honest, bring the troops home and, oh yeah, have fun.

Franti was backed by his five-piece band Spearhead, and within moments of taking the stage had the masses jumping, waving, clapping and singing on cue. The 90-minute show leaned heavily toward the group’s newest release, “Yell Fire,” and its kinetic energy rarely waned. With barely a pause between songs, Franti’s mix of dub, soul, rock and smatterings of country topped by his spoken/rapped leftist lyrics created a fervor and energy unseen in the political arena by the newest voting generation.

Spearhead’s platform was augmented by a couple of well-placed covers. A medley of “Get Up, Stand Up/Stir It Up” drew great applause, but was dwarfed by the reception for “What I Got.” The Sublime cover was wrapped around a medley of the Sesame Street theme, “The Rainbow Connection” and Cookie Monster’s trademark “C is For Cookie” that Franti said was the high point of a recent gig in San Quinten prison.

The show ended with a stunt guaranteed to put Franti’s already-high approval rating through the roof with at least half the audience when 10 topless, body-painted women joined the band onstage. It was a move no other political party would dare to attempt.

Medeski, Martin and Wood, Sundown Stage

Medeski, Martin and Wood, the most democratically named band since Crosby, Stills and Nash, opened their 80-minute set with a frenzied cacophony of mashed organ keys and frenetic drumming joined by a rock-solid bass line that didn’t let up for 20 minutes.

So much for a soft opening.

Few bands can pull this off without getting monotonous, but more than 15 years of playing hundreds of shows together annually have made the trio the tightest musical battery imaginable. Pockets of melody spring to life from improvisation before a nod of the head or flick of the wrist send the music spiraling off again.

MMW’s music is difficult to describe and impossible to classify. Suffice it to say they are one of the few groups to be greeted with open arms by the traditional fans at the Newport Jazz Festival and the jam fans at Bonnaroo.

Though they were not joined by guitarist John Scofield, who has been touring with the band, no one seemed to mind. A scan of the crowd revealed hundreds of heads locked into the band’s groove, bobbing in unison. Since the trio has no vocalist it’s as close to a sing-along as they’re likely to get.

The Greencards, Homegrown Tent

The Greencards won enough new fans with their mix of melancholy and up-tempo bluegrass music to have their visas renewed indefinitely.

The quartet’s sound split the difference between Old Crow Medicine Show and Allison Krauss and Union Station, but with Krauss’ sense of longing replacing Old Crow’s down-home humor.

Though they performed several original numbers, the absolute high point was a haunting cover of Patti Griffith’s “What You Are.” Anchored by a strummed mandolin and electric bass, singer Carol Young’s voice nailed the heartache and longing of the lyrics. The song built quietly in intensity with an acoustic guitar providing tender sympathy and touches of color from a violin. The applause from that number alone was enough to move the band through customs with no problems.

Keep Reading:

Wakarusa Music Festival (2008)

Wakarusa Music Festival (2006)

Wakarusa Music Festival (2005)

Concert review: George Clinton (2007)

by thedailyrecord, posted in Kansas City Star, review

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By Joel Francis

The Kansas City Star

Kansas City got both versions of the funk Wednesday night in the Crossroads.

New Mayor Mark Funkhouser opened the show with a thanks to all who, “Helped a big white guy get elected mayor.”

He was succeeded at the microphone by a guitarist wearing a diaper who signaled the end of Funkhouser’s reign and the beginning of George Clinton’s.

Initially, the show felt like more of an event than a concert. The sold-out crowd drew from nearly every demographic in the city, creating a festival atmosphere, and “Bop Gun,” the second song of the night, had them all dancing.

Clinton’s troupe, Parliament-Funkadelic, also heightened the atmosphere. Between the Diaper Guitarist, Sir Nose, the Pink Pimp and a back-up signer in a gold shirt and crown, P-Funk has enough personality and characters to rival a Broadway cast. Clinton emerged 40 minutes into the set wearing a black track suit and a shock of bright orange hair.

The show started strong, but it peaked after the first hour. After a strong performance of “The Big Payback” in tribute to James Brown, Clinton tried getting a jam started that went nowhere and took too long getting there. “Dr. Funkenstein” failed to reignite the groove and a trip through the “Maggot Brain,” a proto-metal dual-guitar instrumental and Hendrix-laced bass/guitar/drums jam, pulled the show off course.

Fortunately things got back on track in the final hour. A drastically slowed-down blues arrangement of “One Nation Under A Groove” whetted the appetite for “Flashlight,” which was followed by “Freak of the Week” and “Atomic Dog.”

Clinton closed the show doing the Twist, the Monkey and the Swim to a medley of ’50s rock and roll hits. The man who taught a generation how to dance was reveling in the moves that schooled him.

Even though the show was light on the hits until the end, most people walked out happy. At three-plus hours, there was more than enough to please everyone, even if the best moments came with long intermissions.

Keep Reading:

Feature: George Clinton is bringing the funk

Concert Review: George Clinton, May 6, 2005 at the Beaumont Club

Concert Review: George Clinton heats up cold night

Review: George Clinton and the P-Funk All-Stars (2009)