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Posts Tagged ‘Voodoo Lounge’

(Above: Pete Yorn and his band are still living “Life on a Chain” at the Voodoo Lounge on Feb. 20, 2011.)

By Joel Francis
The Kansas City Star

Pete Yorn and Ben Kweller delivered a two-hour clinic on rock songwriting in front of a small but enthusiastic crowd at Harrah’s Voodoo Lounge on Sunday’s night.

Kweller’s 45-minute opening set revealed his debt to the singer/songwriter movement of the early ‘70s. Alternating between acoustic guitar and piano, Kweller delivered several fan favorites, including “I’m On My Way,” “Thirteen” and “Penny on the Train Track.” Stripped bare, his songs could have slipped comfortably on the AM radio dial next to Carol King, James Taylor and Bob Dylan.

Highlights included the country folk of “Fight,” the luscious piano ballad “In Other Words” and a big moment on “The Rules” when Kweller stomped on a surprise pedal and turned his acoustic guitar into a snarling, distorted electric beast.

Although the low-key set initially underwhelmed the bar patrons, Kweller eventually won them over with his combination of good-natured banter and strong songwriting. By the final note the room was his.

If Kweller’s showcase was a bare-bones, how-to session, Yorn’s full-blown, full-band set delivered lessons on layering and arrangements.

After opening with three songs from last year’s self-titled album (his fifth overall), Yorn reached back to his debut, 2001’s “musicforthemorningafter.” “Life on a Chain” got the crowd fully engaged while “Just Another” showcased Yorn’s sensitive side.

Written almost entirely with major chords, Yorn’s songs are like a self-affirmation clinic with guitars. With a full workweek looming, Yorn sprayed sunshine on the unsuspecting crowd with a barrage of optimistic lyrics such as “seeing is believing” (“Murray”), “convince yourself that everything is alright” (“For Nancy”) and “life’s been great to me” (“Future Life”). A wistful look back at childhood (“Velcro Shoes”) was especially sepia toned, but none of it seemed particularly over the top.

The only exception to this was a solo acoustic reading of Neil Young’s “Rockin’ in the Free World.” Before playing the song Yorn told the crowd it was the first song he ever played before an audience, at age 15. He added that the lyrics didn’t fully sink in until he performed the song a few weeks ago at Carnegie Hall. This newfound understanding clearly weighed heavily on Yorn. The mournful, down-tempo arrangement was delivered with a sense of doom.

With or without his band, Yorn stayed primarily on acoustic rhythm guitar, so it was up to second guitarist Mark Noseworthy to provide different textures. The band’s not-so-secret weapon, Noseworthy played a mean slide solo during a cover of Junior Kimbrough’s “I Feel Good Again” and a delicate countermelody on “On Your Side” that helped the song swell like a poignant lump in the throat.

The brief 70-minute setlist was split nearly evenly between songs from Yorn’s first and newest releases, but Yorn seemed just about as tired of playing the old songs as the crowd was of signing them. Which means when he inevitably rolls through town again soon, everyone will enjoy one more cheerful romp.

Pete Yorn setlist: Precious Stone; Badman; Rock Crowd; Life on a Chain; Just Another; Velcro Shoes; I Feel Good Again; Rockin’ in the Free World; Burrito; Strange Condition; Future Life; On Your Side; Closet; For Nancy (‘Cos It Already Is). Encore: For Us; Murray.

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Review: Bob Dylan

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Above: Robert Randolph persuades the ladies of Albany to shake their hips.

By Joel Francis

The Kansas City Star

A casino is as unlikely a setting for church as beer employees are a congregation. Yet on Friday night, Robert Randolph and the Family Band snuck 90 minutes of gospel on an unsuspecting crowd that loved every minute of it.

The quintet opened with a jam that sounded like the Allman Brothers dropped into an AME church, and found Randolph grinning from ear to ear, smacking his gum while working the horizontal fretboard of his pedal steel guitar.

The next song up, “I Need More Love,” was propelled by a funky six-string bassline and sounded like a lost Sly and the Family Stone track. Swaying in his seat, Randolph segued perfectly into an instrumental cover of Michael Jackson’s “Wanna Be Starting Something” that kept everyone on the dance floor moving.

After the MJ workout, Randolph stood up and strapped on Telecaster for a country-flavored jam led by some call-and-response vocals by his sister Lenesha Randolph. He was quickly back behind the pedal steel, though, for a John Lee Hooker boogie that packed three dozen women from the crowd onstage and invited them to shake their hips. Everyone obliged.

There was no setlist; songs grew spontaneously out of what the group was feeling. Each note was kinetic. They band may not know their destination, but they made sure everyone had fun getting there.

A tribute to Bo Diddley gradually grew out of a groove based on –- what else? -– the Bo Diddley beat. With Randolph playing one of Diddley’s trademark square guitars, the band launched into a thunderous version of the song “Bo Diddley” that worked its way into “Who Do You Love?” Randolph was so enamored with the square axe he played it for the rest of the main set.

A surprisingly subdued journey through the Doobie Brother’s “Black Water” played up the “funky Dixieland” aspect and kept the audience involved.

Randolph has torn apart the pedal steel stereotype of making only lonesome country twang. His playing is equal parts Stevie Ray Vaughan and Stevie Wonder and his music is so infectious one could forgive audience for missing the message peppered throughout songs like “Deliver Me.” In that one Randolph sang “Should I get on my knees and pray?/I know I, I just can’t make it through another day/I got to, I got to, I got to get away/Deliver me.”

The free show was a thank you to Bud Light employees and boosters. While the Voodoo Lounge was only two-thirds full, it didn’t feel empty. The extra elbow room allowed plenty of space for dancing and the crowd used every inch.

The band left after 75 minutes, but the music didn’t stop. An offstage bass solo slowly built into a jam that found the band back in front of the crowd. The closing song of the night sounded like Led Zeppelin and echoed a thought likely ringing through most minds: “Ain’t Nothing Wrong with That.”

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Robert Randolph and the Family Band at Crossroads, 2009

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