WHAT? Hold on, you’ll have to speak louder. My ears are still ringing.
About once or maybe twice a year, I find myself packed into a small venue around sweaty people tense with anticipation. We all know why we’re there. We know what’s at stake.
Like last night, when a friend and I headed to Asheville to see the first show in a spring tour by the prog metal band Between the Buried and Me. We had a young padawan in tow, a show newbie. Showing him the ropes.
The house lights dim. A soft blue-red glow illuminates instruments on a stage. The crowd roars as 5 men walk to the front (and once in a while, a woman – still too rare a sight in live performance) to pick up their tools of creativity and violence.
A pause. A coiled spring of anticipation.
A hand plucks a string, a man grabs the microphone and growls.
And sound explodes from two dozen speakers hanging from the ceiling or stacked on the sides of the stage, the crowd explodes with them.
Arms flailing, heads flailing, bodies crashing into one another. The chords throb with energy and passion. Someone shoves into his neighbor in a friendly, universal gesture of “let’s open up a mosh pit!”
Join in our get out of the way.The room writhes with fans bouncing into each other like overenergized molecules in a beaker. No chemist can illustrate atoms’ movement as well as a 15-year old flinging himself again and again into the pile of moshers in the pit.
Call me crazy if you want, and there are days when I think, “Man, I’m really getting to old for this,” but nothing beats the experience of hearing music live, loud, and smashed into the dozen people around you all jumping up and down at the same time.
It’s loud, sweaty, hot, a little gross (byproduct of “sweaty”), a little dangerous (but not really – people are actually quite nice). You’ll reach for the Advil when it’s over, and if you’re smart, you’ll reach for a set of earplugs before you head in. (I never remember mine.)
Most of all, it’s an experience inaccessible if your music stays locked into your headphones, if every concert experience you enjoy involves sitting in a chair reservedly nodding your head.
I often do a concert review after I’ve been to a show. Here’s the compressed version from last night:
Opening band: The Atlas Moth. Garden variety Scandinavian-style death metal. *yawns* They were good at what they do. Just not my thing.
Headline band: Between the Buried and Me. Setlist opened with Selkies (omg! omg! omg! still love hearing that 7/4 introduction live) and also included Sun of Nothing (Colors), Disease, Injury, Madness (from The Great Misdirect) and several songs from the newest pair of albums (Parallax I & II), plus a new single from the upcoming album. Encore was White Walls, of course. A little disappointed that they don’t play anything from their first 3 albums anymore, really, but that’s what CDs are for.
Postscript: It may be that a live concert featuring metal bands is the perfect activity for a teen boy. There’s energy, lots of noise, socialization, and plenty of aggression (but not directed at other people.) Violence without harm or anger. Intense emotional release, a communal sacrifice of calories and sweat and joy. Is your kid into metal? Calm down. It’ll be ok. 🙂
Bottom line: GOTR was a wonderful outdoor way to enjoy Mumford & Sons and their hand-picked lineup of bands in the lovely town of St Augustine. Why does it work? Mumford puts their stamp of approval on the town, the events, the bands, the experience. If you find them awesome, you’ll probably enjoy GOTR. And it really was that good.
Bands I liked on Saturday:Bear’s Den (though I missed their set, I loved what I heard of them on the GOTR web site via links, and I’ll definitely check them out live when I can), Half Moon Run (what a lush guitar sound!), John Fogerty (what?! YES! amazing), Mumford & Sons (duh). And JOHN FOGERTY!!!
Basically, Mumford & Sons like to tool around the country setting up the coolest music festival ever in a select list of small “quintessential” American towns. Not that Brits would necessarily know a quintessential American town, and St Augustine isn’t exactly small. But still, it’s a cool idea. They hand pick the bands and work hard to make sure all the experiences of the weekend are locally owned or produced…. or at least curated. Two days, a bunch of bands, tons of local food & music & art to enjoy, and happy people wearing mustaches.
So let me just sum it all up with a top-7 list (or whatever) – I’ll quit when I run out or fall asleep.
1. Awesome: St Augustine. What a great town! 25,000 people fell in on top of them and they didn’t whine, break down, throw objects, scream and yell, or even act inconvenienced. They worked hard to make the festival run smoothly for all the visitors, and I’d rank them high in the “friendly” and “helpful” categories. Plus the beaches are amazing, the weather was lovely, and we enjoyed amazing food.
2. Awesome. fun. dropped out. How is that a good thing?
Because John Fogerty, of Credence Clearwater Revival, stepped up to fill in. Got on a jet plane Friday night, flew to FL with his instrumentally-skilled two sons, and got down to work teaching his “backup band” the music for that night’s absolutely, ridiculously incredible set. Unbelievable.
3. Awesome: Mumford & Sons set on Saturday night. Though boozy and tired from the day’s work in preparing to back John Fogerty and all the stress that probably prompted a lot of drinking, Mumford & Sons rocked it with improvised bluesy introductions to their tunes from both albums. What’s a Mumford show? The biggest, funnest, dance party -sing-a-long you’ll ever attend.
4. Awesome: the guys who stepped up to be Fogerty’s band at the last minute, at the end of their own exhausting tour, on a night when they had played or would play their own stuff for an hour or more. The Vaccines (British punk) and part of Mumford & Sons played with Fogerty’s sons and it.was.just.absolutely.amazing. Are you jealous? You should be. I sang every CCR song that matters WITH JOHN FOGERTY IN PERSON. And 25,000 other exhilarated people around me. [Cool article about it with footage.]
But back to the backup players…. two tidbits. One, it was fun to watch Fogerty direct these songs on the fly, nodding across the stage to his so-famous stand-ins so they’d play the songs correctly. And two, totally hilarious for Marcus Mumford to blow the drum line at one point in the set, leading Fogerty to poke fun at Mumford after the song. Priceless.
5. Awesome: Edward Sharpe and the Magnetic Zeroes. Wasn’t prepared for this — I’d listened to some of their music on Spotify and it was OK but MAN. Their Friday night headlining set was a blast. They clearly enjoyed their music and had a ball letting the crowd dictate what songs would come next in true festival style.
6. Awesome: Food & drink in St Augustine. Man, I didn’t even know Polish restaurants exist! But we stumbled into one and had some damn fine food . In fact, every place we tried was great, from the little pubs to the coffee shops to the fudge places. Thumbs up, St Aug. You know how to feed a crowd.
7. Awesome: Unintentionally, accidentally booking our rooms right beside the shuttle stop. Boom. Best unintentional planning EVER.
8. Awesome: Big huge dude raising a barbel to the sky sculpture that M&S haul around with them on these festivals now. Cheerio and all that.
9. Did I mention Fogerty? Damn, that was epic.
10. Awesome: Getting to take a cool vacation with Coart. Is there anything more perfect than getting picked up after work and blazing down the road toward adventure? Rhetorical question.
I’m so glad I leaped on faith and bought the tickets in February, not knowing whether we’d actually be able to go. It was the right choice.
If you love music, if you like Mumford & Sons at all, if you want to share that experience with other lovers of good tunes and good food and good places…. then you should book a GOTR ticket next summer. 🙂
Sometimes you end up in the presence of a true musician, someone who lives and breathes music. Rhythm and melody are their blood; they feed on life but mix it with creativity to offer lucky audience members a taste of what God must have intended for the human race.
Shout-out to Sam, who messaged me a month ago to ask if we wanted to accompany him & Nate to Tiersen’s show in Atlanta this weekend. I’ve been familiar with Tiersen’s work ever since Nate IM’d me a YouTube video with the command to “Watch.” I’ve learned to trust Nate’s music sensibilities — his radar is calibrated to “quality” — and I was intrigued.
Yann plays I-don’t-know-how-many instruments. A rough list would include piano, various keyboards & synthesizers & electronic bits, mandolin, accordion, guitar & electric guitar, and violin.
The Atlanta concert was a true delight. An odd time, though — Tiersen was scheduled to play at The Masquerade with doors opening at 9:30pm. The Masq is the main hardcore venue in Atlanta, and they had a major show running on the upstairs stage that same night. As we waited patiently for “something” to happen downstairs in Hell (the upstairs and downstairs Masq stages are titled Heaven and Hell, appropriately), we saw the ceiling above our heads thump and sway at least 6 inches beneath the weight of hundreds of moshing teenagers. [The Masq always looks like it’s going to literally fall down on your head — it’s part of the atmosphere. lol]
After the opening act and then watching a hardworking sound guy set up 12 instruments by himself, our patience finally was rewarded by the emergence of Yann & friends.
And it. was. AWESOME.
“One! Two! Three! Four!!” …. soft mandolin notes opened a song of marvelous beauty. The stage musicians included a bass player, drummer, guitarist (Gibson SG), a guy on some kind of electronic thing that I can’t identify, another guy on keyboards and ukelele, and Yann himself playing guitar, mandolin, or violin as needed.
I find an intense joy in watching an artist glory in his art — squeezing every drop of JOY out of the experience of stepping onto a platform and baring his creative soul to the mass of people drinking it up. Nothing replaces the exuberance of a live performance. Every raw note stands as its own monument to ART, to creativity, to expression.
It was a good audience too, for the most part. Older than typical for the Masq, and culturally diverse. They were etiquette-diverse too — I was pushed or jostled by people speaking at least 2 different languages (besides English or Spanish) and some giant hairy fellow stepped in front of Sam to “take this empty spot right here.” (It wasn’t “empty” at all, and we asked the red-haired giant to please not stand in front of us since it was impossible to see overtop of him.) But those were isolated incidents. Mostly, we all just stood and enjoyed every bit of the 90 minute set.
I recommend spending some time with Yann Tiersen on YouTube or Grooveshark if you like “world music,” classical, folk, indie rock, or Phillip-Glass-style movie soundtracks. We could all use some more beauty in our souls, and Tiersen channels enough for us all.
The calendar fairy handed me back-to-back musical experiences. “When it’s good, it’s really, really good!”
Mumford & Sons, Cadillac Sky, King Charles — Buckhead Theatre, Atlanta, 11/7/10
Chanticleer — Brooks Theater, Clemson, 11/8/10
People underestimate how much power an audience has over our enjoyment at a concert. On the one hand, some shows need a young, high energy group of young people to really get things going. On the other hand, immature audience members often fail to appreciate the nuances of excellent musicianship, less-popular genres of music (like most “classical” works), and the heritage that all of our current musicians share with others around the globe.
I was surprised Sunday to walk into the Buckhead Theater in Atlanta and find a crowd of yuppies and college students and middle aged people waiting eagerly to hear British folk-rock-bluegrass band Mumford & Sons. It was truly an interesting mix of very polite, very excited fans of the good looking quartet with their lovely collection of traditional instruments (and the banjolin). We’ve been listening to their CD almost non-stop in our household as soon as I got it in July, but most of the people at the show could top that: They could sing pretty much every word of every song!
Mumford & Sons brings a gravitas to their performance that few 20-somethings can ever dream of marshalling even when they add a few more years to the pile. Lead singer Marcus Mumford offers up his soul on the back of his guitar for each song, staring down the crowd and forcing people to come to terms with their lyrics — which are rich and deep and reflective. Every man threw himself into the performance, whether Ben rocking out the keyboard or accordion, or Winston on the banjo/banjolin, or Ted beautifully handling the tall double-bass.
But what made the show incredible — truly an experience — was the audience. You can’t mask an audience’s passion for an artist, not the screaming teenie-bopper attention that big-name pop stars earn, but a deep, fierce loyalty a music-lover can have for his/her favorite musicians. Bring those musicians and those fans into the same room, and you’ll have magic. And the Buckhead Theater was a charmed venue on Sunday night. Every album track the band played — and I believe they played them all — was thundered back at them by the audience. Even a couple of the 4 new songs had already been leaked to the Internet, and the guys standing behind us were singing every word. Marcus smirked with satisfaction late in their set when he was finally able to find a song the audience didn’t know…. but we loved it anyway.
The band mates would make eye contact with each other and laugh as if to say, “What is going ON?! We’re in Georgia! How do these people know this music so well!” They powwowed in tight little sweaty conferences at the back of the stage, probably mumbling stuff like Hey, maybe we should throw in this one too? … and then it would happen. When you can watch four friends doing what they love and loving every minute of it, no one in the audience was willing to let them off the stage until we’d heard every recorded track and then some.
I’d be remiss not to mention opening bluegrass band Cadillac Sky in my review. They were outstanding musicians. I’ve never seen someone “shred” on a banjo …. but I did last night! The lead violin player was amazing, though the crowd didn’t give him nearly enough applause for his talent. The guitar player was crazy and did things with an acoustic guitar that shouldn’t be possible. The double-bass guy was JAMMIN’. I think the group brought 6 or 7 people to the stage for their set, which was a lot of fun. Definitely a show well-worth the ticket price (and extra Ticketmaster service fees).
I have a feeling Mumford & Sons will be back among us next year. They won’t forget to visit their new “favorite crowd ever” (Ben’s words). If you haven’t heard the album, I highly recommend finding some tracks on YouTube or MySpace and giving them a listen . . .
Switching gears completely, Coart & I found ourselves at the Clemson University Brooks Center tonight on row B enjoying 12-man-wonder-singers Chanticleer. We’ve been Chanticleer fans for more than a decade now, chasing them to various local cities when we’re lucky enough to have them close by. My favorite venue for an a capella performance is the hall up at Brevard College — perfect acoustics! But Brooks is a good performance space too, and I heard every glorious note of tonight’s program.
What do you get when you assemble 12 of the finest vocalists on the planet? Twelve guys who can sing anything from medieval chant to Italian madrigals to Schumann lieder to 20th C experimental music, R&B, gospel, and jazz. These concerts provide such a variety of musical material — I’m always fascinated!
Tonight’s “special” or unusual selections were very interesting. One, “Observer from the Magellanic Cloud” suggested the sounds of a future satellite traveling in the nearby galaxy we call the Magellan Cloud, catching a whiff of a signal from Earth of the Maori people in New Zealand dancing their tribal dance in honor of those stars (which they believe bring them crops & a good growing season). The piece slowly changed from a vocalization of something that would suit a sci-fi movie soundtrack into a Maori tribal dance/chant … and then swirled together as the two “signals” became one.
Even more amazing was a set of pieces by an Australian composer, I’ll have to look at my program to find her name, who was haunted by aboriginal melodies and sounds. One piece was mostly harmonic overtones — the singers used their mouths to create a variety of precisely pitched sounds which, taken together, started to “shimmer” throughout the room in overtones. High pitched harmonies seemed to coalesce from the very air, conjured by the magic of physics/acoustics and the human voice. I was truly stunned. Not an electronic instrument (or any instrument) in sight except the human voice and some incredible vocal training.
Do yourself a favor: Find some Chanticleer for your Christmas (or world/follk/classical) CD collection.
Look up videos/clips of Chanticleer singing Francis Biehl’s “Ave Maria,” or the Vaughn Williams arrangement of “Loch Lomond.” Those are both gut-wrenchingly gorgeous.
I guess that’s the end of our concert budget for a while. At least we wrapped up 2010’s season with an unforgettable 24 hours.
There are local musicians, and there are local musicians. Friday night we were privileged to hear Daniel Machado lead The Restoration in an incredible performance of their new album Constance. The evening was so awesome that it deserves its own report.
The Restoration is a collection of talented musicians who play a variety of instruments. I’m not sure what genre fits them best; perhaps folk-rock? They incorporate older styles and skills into a modern musical landscape, blending the modern with the traditional.
What grabbed my attention about Constance several months ago was its back-history. Daniel was researching the history of his own hometown (Lexington) and was struck by the insidious racism that marked South Carolina’s history for a century (or more) after the Civil War. His research led to creative impulse, and this incredible album is the result.
Daniel Machado published two interesting articles on Scene SC while they were recording the album: Part 1: Out of a Nashville Studio and into the Heart of Local Racism Part 2: Smiling Faces, Beautiful Places, and Angry White Men
The CD release show was a great example of how music and performance and literature and art can all combine to communicate unified story. I felt like I was watching a living “Multi-Genre Project.” The release show band included additional musicians — our friends Steven & Collin; a cellist, a sax player, etc. If you hit The Restoration’s site you can hear some of the tracks, but the entire experience of sitting in the Trustus Theater and watching the music unfold live can’t really be reproduced in a recording studio. Sometimes the emotions behind the music get lost in the digitization. I still prefer the energy of a live show to a “perfect” CD.
(If you go listen, don’t miss “Constance.” That song will stick in your mind for days.)
I should mention that two interesting acts prepared us for the performance onslaught of The Restoration. The first were dancers from the Alternacirque dancers in Columbia. I don’t know what else to say other than “a displaced tribal belly dancer originally from New Orleans found herself in Columbia and opened a studio.” Lol. It was one of the coolest things I’ve ever seen ….
Incredibly cool = getting to hear Riley Baugus play his Appalachian tunes in person. Riley is a world-famous banjo player and Appalachian mountain music man. He currently lives 10 minutes from Stevo in Winston-Salem (who promises me they’ll get to hang out soon, and I’m quite jealous). Riley gives you the history behind his tunes as he picks up the banjo or guitar or violin to transmit to us a tiny bit of America’s musical heritage. The modal melodies of the Appalachian tunes, the thumping rhythms, the lyrics/themes that suck your heart out through the sound of his raspy voice — that unmistakable blend of African and Irish/Scot/English and Native American — it takes me back to the PA mountains of my upbringing. I felt like someone had set a musical icon in front of me.
All this for $6. Ridiculous. I should mention too that the TRUSTUS Theatre is a really cool performance space! Black interior, uber-comfy seats, lots of leg room & places to put your snacks, a clear view of the stage. Thumbs up.
I bought the Constance book that accompanies The Restoration’s album, which includes lyrics and photos and the full short story which brings Daniel’s vision into focus. Holler if you want to borrow.
And if you want to hear The Restoration for yourself, they’re playing with Riley Baugus in Columbia at the end of May. Show dates/info are posted on their MySpace.
Given the chance, I will always take live music over recorded. I love the aura of the unexpected from a live show.
Anything could happen – including technical flusterclucks, musical epiphanies, or the simple magic of a few hundred people united in admiration for music well-played. When a band like Between the Buried and Me offers that kind of musical experience, I am SO there! Such as last night when I attended BTBAM’s CD release show at the Orange Peel in Asheville.
BTBAM’s CD release show for Colors (Tremont, September 2007) was probably one of the top 3 shows I’ve ever attended, so I knew the release show for The Great Misdirect would be on my calendar if physically possible. I watched the internet like a hawk for weeks, ready to pounce on the ticket announcement. BTBAM landed a spot at the Orange Peel in Asheville for this show — marvelous venue in a great town.
Jesse, Robbie, and Trevor joined my crusade as faithful companions (and Robbie as faithful driver, which I dearly appreciated).
We got to Asheville early enough to enjoy a leisurely afternoon supper and then join the already-growing-line outside the OP at 5:15 (doors at 7; free poster to first 200 fans). Poster is pretty sweet, by the way.
Waiting sucks, but we had a deck of cards and plenty of hilarious human beings to entertain us. The guys behind us turned out to be 1) very cool; 2) in a band; and 3) from Pennsylvania! They heard about the CD release show on Tuesday and one of them said to the others, “Hey guys! We should drive down to that show!!” So they did. LOL Took 81 all the way to NC from Bethlehem PA and slept in their car at a rest stop yesterday morning. Now THAT is hxc. haha We also enjoyed an entire parade of costumed bike riders — I guess that’s how Ashevillans celebrate Halloween? lol
It was cold, windy, raining, and dark by the time we edged into the doors of the OP to snatch a couple sweet shirts from the merch table (and the free poster, of course) and get our places in front of the stage, Row 2 for Jesse & me. Robbie was right behind us. Trevor was nowhere to be found for most of the show — dunno what’s up with that but he said he had fun so whatever. lol
The Halloween costumes around us were entertaining. Top-dressed fans won prizes and I saw a few creative ones. Some guy wearing an all-green nylon suit won the admiration of the crowd and thus top prize. I’m not sure why a green man is impressive, but there’s no accounting for the whims of the mob. They also cheered wildly at the girl wearing a cleavage-revealing, skintight Catwoman suit, but those motives are pretty obvious.
Unfortunately, I was situated behind Mr Hot Dog and Santa Claus (who were on the center of the front row) and spent most of the night peering over the hotdog’s foam-encased shoulders. That was not cool… but on a positive note, when the crowd rushed forward and crushed me to the front I was essentially in the front row too, but cushioned against the hot dog’s bun. Not buns. Just bun. lol
The opening band is irrelevant to me – I didn’t like their music at all. I will give them mega-props though, for dressing as Mario characters & decorating their amps with coins, clouds, and critters from the Mario world. There’s something endearing about a guy wearing huge ears screaming vocals at you. Perhaps rock bands should dress in costumes more often. (“Why is that lead singer dressed like Bugs Bunny?” “…. I dunno, dude. Why not?”)
The second band, BraveYoung, captured my heart as soon as the lead guitarist stepped on stage with a GORGEOUS Gibson and a violin bow. The drummer rolled out a tympani and marimba. I knew this was gonna be cool. No vocals, just gorgeous, layered musical tones coming from this band called BraveYoung. They played only 2 songs during their set (long songs!) and I highly recommend you give them a listen. The first piece slowly constructed a tidal wave of sound, crashing over us with an intensity that can come only from a long, patient build-up before the musical climax. Seriously. That was an awesome band….
Glass Casket, which includes 2 members of BTBAM, played the last set before the headline. I know several people who love GC, and I can see why people admire their skill. They aren’t my favorite, but their set was well played and I appreciate the musicianship. I’ve got a couple of their songs on my iPod, and the band played both of them. The crowd went nuts for them …. some very drunk guy reeking of beer smashed himself against my right side and screamed in my ear for those 6 songs…. that got real old, real fast. I was happy for him to vacate my quadrant of the crowd at the end of the set (to be replaced by other, slightly less annoying fans).
But on to the real attraction:
Hearing an entire album from start to finish played live by its creators for the first time in public is an unparalleled musical experience. BTBAM was, in a word, wonderful. Their shows ruin most other shows for me.
The music is complicated and (to me) intellectually stimulating, and they play impeccably during their live shows. Yeah, it’s awesome to hear a good band play anytime. But BTBAM delivers a lot of extra musical awesomeness at their CD release shows. The Great Misdirect is an interesting album, echoing bits of every band that BTBAM appreciates or lists as an influence. Moment to moment you might hear a smidge of Opeth or Animals as Leaders or even snippets of bands they’ve played with in previous tours. And, of course, you’ll find the now-expected WTF moments in the music — 70s rock, Jimi Hendrix or Led Zeppelin echoes, 1890s carnival music, banjo.
The album is still too new for me to evaluate at this point, whether it’s “better than …..” or not. A lot to digest. But I really enjoyed what I heard. I know the “BTBAM purists” out there shake their heads and sigh that the band has gone soft and lyrical. But I think that puts the band in a box, as if musicians must always retain their juvenile sound. I like where BTBAM is going these days, and I love their older, more brutal records. Best of both worlds (as long as we get to hear an older song live once in a while.)
After a full hour of full-bore performance, the band took a 5 minute break while the fans decompacted themselves from the ridiculous crush of humanity at the front of the crowd. (Thank God He gave me elbows.)
Danny (bass) rocked out some weird but cool bass improv while they regrouped, and then BTBAM hit the stage again for a 30-minute encore…. I lie not. When songs are 10-15 minutes long, that shouldn’t be surprising. lol So they capped their 90 minute set with “Mordecai,” “Selkies,” and finally “White Walls” … a holy trinity from earlier albums.
Couldn’t ask for anything more. And I wasn’t dead tired, totally trampled, or otherwise abused at this show… a nice change from the typical concert experience.
The Colors release show set me on a euphoric musical high for a few days. Shows were still very new back then. This time, more seasoned, I left musically refreshed, as if I had given the musical parts of my soul a resort cruise. Creativity is flowing again. Restored.
And the best part? It was a Saturday night show on Halloween, just before time change Sunday, on a 4 day weekend at NCS. That might just be the best part of the whole affair — not only did I enjoy a full night’s sleep last night when I got home, but I got to actually rest for the entire Sabbath and delay thinking about school until Monday!!
On the heels of the fantastic U2/Muse show, we went with Brett Whitfield to see Third Day in Simpsonville at the amphitheater down there….can’t remember who owns it…..anyway…..
I like Third Day, I’ll be honest. I mean, I hate most “Christian music” as a general rule because it’s just so damn HOKEY. But Third Day avoids that somehow. Their tunes are very singable – which makes them cool for church at times. And they channel more of a “rock” sound than pop, so you can listen through one of their CDs without wanting to stab yourself in the eye before going off to listen to the Top 40 station for a while… if you’re going to rot your brain with pop music, at least use the real thing, right?
So. Friday night found our car stuffed full of 2 Rameys, 1 Brett (Susie was out of town), and 2 bored teenagers with nothing better to do on a Friday night (Trevor & Cary). We paid about $16 to get in — not exactly cheap. And it was at the Heritage Amphitheater in Simpsonville, so we paid $16 to bring our own chairs. lol But the night was pretty (except for the short rainstorm) and I love any excuse to watch Venus rise.
We missed most of the opening bands (no great loss) so I’m pretty much here to discuss Third Day, Jars of Clay, and Glory Revealed. GR is a side project of Mac Powell of Third Day. Bluegrass-ish. *shrugs* It was fine. I liked their cover of “Mighty to Save.” That’s about it.
Jars of Clay seriously disappointed me. I don’t know much of their stuff, but the older songs I know I really, really like. What we heard last night sounded like the Killers had a lobotomy, made babies with a bad teen-angst-hardcore band in the back of a Mercedes, and forgot to bring someone with a real voice. OK, that was probably too harsh. But I hated their set. Musically dull, lyrically dull. Badly mixed.
Happily, Third Day more than made up for what went before, putting on a great hourlong show of good music and neat light/screen effects. They’re down to just one guitar player (plus organ, keys, bass, drums, etc) but sounded great. I don’t really have anything else to say … it was good. I sang along. We enjoyed their set.
I do have thoughts about Christian culture, however.
Christians in the USA as SO cheesy.
For one thing, I don’t pay for a sermon with my concert ticket. A concert is a concert, not an excuse to meld in a testimony/sermon/guilt trip/collection. Some guy got up and spoke for 20 minutes before Jars of Clay about his life, his conversion, and Rwanda. I’m all about feeding hungry Africans, but dude — take a hint from U2 and donate a percentage of your profits. Plus it was a sucky sermon.
It’s hard to attend a Christian rock show like that one without feeling kind of silly. Everyone is white, middle class, conservative, and safe. I’m pretty sure I didn’t see a single tattoo, interesting piercing, colored hair, or fringe kid. And of course — no smoking and no alcohol. It’s so “clean” I wanted to do something illegal just to keep the universe in balance.
Nobody really knows what to do other than jump around, sing, or clap. You don’t really feel like moshing for Jesus — as Trevor said, “Christians are just too nice to actually mosh. Now, if they wanna invite us down front to really get it going, I’ll get in there and kill people [metaphorically speaking]… but I don’t think they’d like it.” Yeah, typical evangelical Christianity doesn’t really have a place for aggression or testosterone. [Perhaps more OT reading is in order?] lol
I’m always happy to hang out with friends…..But I would have been about as happy watching the Muse concert DVD at someone’s house instead.
Well, the Third Day songs were cool enough to be worth a ticket.
More or less.