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Posts Tagged ‘Kauffman Center’

(Above: As he has done countless time through the years, Michael McDonald relishes “Takin’ to the Streets” on June 17, 2017 at the Kauffman Center in Kansas City, Mo.)

By Joel Francis
The Kansas City Star

Michael McDonald has enough hits in his five-decade career to please fans for days. On Saturday night at the Kauffman Center, the celebrated songwriter boldly chose to devote nearly half his set to introduce songs from his upcoming album.

The strength of the material rewarded McDonald’s decision. Although the songs were new, many sounded instantly familiar and blended well with the classic numbers. “Free Your Mind” had a funky Haight-Ashbury feel, while the slow blues “Just Strong Enough” featured several great solos from McDonald’s six-piece band. The upbeat “If You Really Wanted to Hurt Me,” perhaps the best of the bunch, found McDonald’s unintroduced backing vocalist signing along off-mic and dancing and clapping across the stage.

IMG_IMG_Michael_McDonald_2_1_2353JDV3_L135136365Enough hits from McDonald’s days with the Doobie Brothers and solo career were sprinkled throughout the 90-minute set to keep the audience engaged, even if they didn’t find their feet until “What a Fool Believes” near the end of the night.

Opening act Boz Scaggs took the opposite tack, delivering more than half of his bestselling “Silk Degrees” album. The 1976 smooth soul album sold 5 million copies and generated four Top 40 singles, which delivered the biggest cheers of the night.

Mixed among the familiar tunes were several covers, including Chuck Berry’s “You Never Can Tell” and Li’l Millet’s “Rich Woman.” Scaggs dedicated the former to “my favorite Missouri musician. Well, him and Miles (Davis), anyway.” The latter featured a honking sax riff and swampy feel that betrayed the song’s Louisiana origin and Scaggs’ Southern upbringing.

Both men were chatty, setting up less-familiar numbers with anecdotes about their inspiration. McDonald took the stage talking about growing up in St. Louis, and how when some of his relatives had too much to drink they’d end up driving to Kansas City.

A pair of blues songs provided the most compelling moments in Scaggs’ 85-minute set. “Some Change” was inspired by the kind of change that “seems to come along every four years” and featured some of Scaggs’ best guitar playing. The burning “Loan Me a Dime” gave all five band members plenty of time to stretch out and solo across its 10 minutes.

McDonald sent the mostly full room home happy with a gospel version of his first, and in many ways defining, Doobie Brothers hit, “Takin’ It Too the Streets.” The song opened with piano and organ gradually giving way to the full band and the admonition to let peace, love and justice rule.

Boz Scaggs setlist: It’s Over, Jojo, Rich Woman, Some Change, You Never Can Tell, Harbor Lights, Georgia, Cadillac Walk, Look What You’ve Done to Me, Lowdown, Lido Shuffle. Encore: What Can I Say, Loan Me a Dime.

Michael McDonald setlist: It Keeps You Runnin’, Sweet Freedom, Free Your Mind, I Keep Forgettin’, Find It In Your Heart, If You Wanted to Hurt Me, Just Strong Enough, Here to Love You, Beautiful Child, Half Truth, Minute by Minute, On My Own, What A Fool Believes, Takin’ It To the Streets.

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(Above: Shawn Colvin, left, and Steve Earle emplore listeners to “Tell Moses.”)

By Joel Francis
The Daily Record

With all the smiles, stories and strumming, Steve Earle and Shawn Colvin’s performance Wednesday night at the Kauffman Center seemed like very upscale busking.

The two artists stood on an all-black stage adorned with four monitors, one table, four guitars and two mandolins.

The concept was as straightforward as the setup. Over the course of 100 minutes, the pair performed ever song from their new collaboration, “Colvin and Earle” and scattered a couple of their own hits for good measure.

IMG_5969Despite nearly two dozen albums to their names, cover songs dominiated the setlist.

Earle introduced the Rolling Stones’ “Ruby Tuesday” by saying he learned how to play tennis racket to that song in front of a mirror. The spare arrangement brought Mick Jagger’s haunting lyrics to the forefront, particularly lines like “catch your dreams before they slip away.”

Other standout covers included Emmylou Harris’ “Raise the Dead” and the oft-recorded “Tobacco Road.” A laidback, almost effortless cover of “Wake Up Little Suzy” opened the night.

Before “Someday,” Earle told a long story, recapping his days as a Nashville songwriter trying to get a record deal, then fighting to get another when his debut single disappointed everyone. A friend took him to see Bruce Springsteen and the E Street Band on the “Born in the U.S.A.” tour, where Earle found inspiration to write his “Guitar Town” album. After success proved to be more of a struggle than failure, Earle fell into a spiral of drugs, only poking his head out of the darkness long enough to hear Harris recorded “Guitar Town” and Colvin cut “Someday.”

IMG_5974Despite a lack of drums (or band), the version of “Someday” that followed punched as hard as a metal band going full throttle.

Colvin bragged about all her depressing breakup songs, saying “I’ve known fans who won’t take their Prozac for a week before I come to town.” She backed up her words with her biggest hit, “Sonny Came Home,” and “Diamond in the Rough.” While most songs found Colvin and Earle playing off each other vocally, “Diamond” featured a long outro that saw the pair spar musically.

The auditorium was about two-thirds full, and needed little prompting to join in on Earle’s buoyant, mandolin-fueled “The Galway Girl.” The singing and clapping encouraged during “Tell Moses,” a new song, felt like an hootenanny.

After returning to the stage with a Beatles number, the pair closed the night with Earle’s biggest hit, “Copperhead Road.” Colvin got the chance to show off her guitar chops again on that one. With Earle playing mandolin, she had to provide all the song’s musical muscle.

Judging by the lines at the merchandise table afterward, it was more than enough to convince fans into throwing some more change in the hat on the way out.

Setlist: Wake Up Little Susie; Come What May; You Were On My Mind; Raise the Dead; Ruby Tuesday; Tobacco Road; That Don’t Worry Me Now; Someday; The Way That We Do; You’re Right (I’m Wrong); Burnin’ It Down; Sunny Came Home; The Galway Girl; Happy and Free; Tell Moses; You’re Still Gone. Encore: Baby’s In Black; Diamond in the Rough; Copperhead Road.

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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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