our favourite Austin boys will bring their sharp pop gems to San Francisco's Great American Music Hall on May 29th. tickets go on sale on Sunday. this gig has not been posted on Voxtrot's website or MYSPACE so they will probably post details for a full tour soon...and I will post it of course
The night commenced with a set by a young lady named Angel Taylor, and her style was only fit for any person opening for Gavin Degraw. She wore her heart on her sleeve and concealed nothing in her lyrics, which were seeping with the pains of heartbreak. Her piano playing and her voice were both good, but nothing spectacular. I’ve seen too many incredible openers (Delta Spirit, Voxtrot, The Helio Sequence, Wild Sweet Orange) that mediocre ones (even border-line good) have been ruined forever.
Taylor captured the audience’s attention, I’ll give her that, and was stoked to see her “first legit sign” (someone had written “I <3 Angel Taylor” on a white cloth). She covered the Campbell ’s jingle and closed with an Adele song("Hometown Glory").
Because the show began at 9PM , the set ups and other things were super efficient, and Gavin Degraw approached the stage at 10:02 , heartily welcomed by screams and applause. His set began really weakly--with a song called "Dancing Shoes" off of his second album, and a cover of "Indian Summer" by Chris Whitley-- mostly because there were some technical difficulties and the amps weren’t set up properly for the electric set from his accompanying band (he was on piano throughout the night, leaving it only a couple of times for rhythm guitar).
Then, Gavin busted out a gem off of his first record (“Follow Through”) and everything fell into place. The rest of the set flowed beautifully, mostly because he peppered it with songs from his debut album Chariot. I honestly never bought either his second album (I have a few songs from it and it’s not very good) nor do I plan on getting his latest release, Free, but I was very pleased that I got to experience Chariot before he outgrew it completely. It was strange to see Gavin in person, because I never got over the image of him as a youngin, with a beanie, inconspicuously holding a leaf and singing about drugs and young love--two subjects that never seem to get old. But being over thirty hasn’t completely killed his spirit yet, as he was interacting with the audience with the enthusiasm of a twenty-something. He seemed quite pleased that the audience acquiesced and sang along with him.
Overall, it was good show, everyone (including the band) was having a great time and the only person left a tad disappointed was me, not having heard my favourite song of his ("Nice to Meet You Anyway"). Then again, his energy when singing “Chemical Party” more than made up for it.
3.25/5
Set List:
pictures:
for videos, head on over to my YOUTUBE page. I took videos of all of the Chariot songs which Gavin sang, the covers he did, and a couple of newer songs too.
Tuesday night’s concert at Great American Music Hall was defined by a couple of things. First, and most notably, superb vocals all across each of the three singer’s sets. And secondly, the acknowledgement of the bitterness which remains after relationships go bad, and nothing is left but sad memories to inspire sadder songs.
Jesse Harris opened the night, and his music was the most upbeat of the three. I actually got there a bit late, so I didn’t get to hear his whole set, but what I did hear, I enjoyed. He was on the banjo, with only drums to accompany him. His performance was so striking that everyone got upset when he left the stage, obviously eager for more. Jesse also played guitar during Joshua’s set. His claim to fame? Try a couple of Bright Eyes appearances (I'm Wide Awake, It's Morning and Motion Sickness), and a Grammy for his songwriting and guitar contribution on Norah Jones' "Don't Know Why". The guy knows his music.
Next on was Meiko, who, sadly enough, was not as musically endowed as her predecessor. While I absolutely adored her voice, which kind of reminded me of a less squeaky E.G. Daily, this woman absolutely desecrated the instrument that was previously known as the guitar.
Meiko started a trend which Joshua later continued, that of telling pretty intricate stories before singing almost each one of her songs. “Real Real Sweet” was directed towards a jealous ex girlfriend of a friend of hers who ruined their friendship, thinking that Meiko was fooling around with the guy. She wanted to “mess with her head”. The evening was full of spite and bitterness, or, as Joshua deemed it, “salty songs”.
Joshua Radin was absolutely stunning. Each of his songs were rendered perfectly, I was quite surprised that he did just as well with his faster, electric songs as he did with his more signature slow sad ballads. New song “She’s So Right” was inspired by his love for Tom Petty, specifically the four hour documentary Runnin’ Down a Dream, which he admitted to watching “at least seven times on this tour”. He declared that it is required viewing for any music fan and also said that he really wanted a WWTPD wrist band (for What Would Tom Petty Do). I’d probably don one myself.
His attitude ranged from humourous (he called the audience his myspace friends) to brutally honest. He admitted to “falling for the sad ones”, which obviously left an impression on him. He repeatedly apologized, determined that the audience know that he wasn’t trying to be deliberately callous. His nervous spurts of honesty were refreshing, musicians rarely ever bear themselves on stage anymore. He did it both when he explained his songs and when he actually sang them. While his body language was quite stiff and reserved, his voice had the exact opposite effect: it opened his insides for everyone to see, unabashed and tragically beautiful.
When Meiko came on stage again to join Joshua for a song (“Today”), she paled in comparison. Joshua has it all: talent, a great ear, a powerful singing voice, and the ability to captivate a full venue for his entire set to the extent that it was, indeed, as he deemed it, “pin drop quiet”.
Set List:
Free of me Sky Winter No envy Vegetable car One of those days Growing up We are ok The Fear You Won’t Fall Today She’s So Right What if you Rather be with you Closer Bring It On Home To Me (Sam Cooke cover)
I highly recommend that you catch him in concert, he reminded me of how powerful a song can be without punching you in an angry rock’n’roll frenzy. His intricate simplicity combines the best of Elliott Smith and Jason Mraz. His live sound far surpassed any of his studio stuff. I had a spectacular time.
Feb 20 Downtown Brew San Luis Obispo, California Feb 21 Henry Fonda Theatre Los Angeles, California Feb 23 Belly Up Aspen, Colorado Feb 25 Black Sheep Colorado Springs, Colorado Feb 27 Bottleneck Lawrence, Kansas Feb 28 Fine Line Music Cafe - SOLD OUT Minneapolis, Minnesota Mar 2 Pabst Theatre Milwaukee, Wisconsin Mar 3 Park West Chicago, Illinois Mar 4 20th Century Theatre Cincinnati, Ohio Mar 6 Kent Stage Kent, Ohio Mar 7 Headliners Louisville, Kentucky Mar 8 Exit/In Nashville, Tennessee Mar 11 El Mocambo - SOLD OUT Toronto Mar 15 Sugar Club Dublin Mar 17 o2 Academy 2 Liverpool Mar 18 o2 Academy 3 Birmingham Mar 19 Shepherds Bush Empire London Mar 20 King Tut’s Glasgow Mar 22 Sentier des Halles Paris Mar 23 Studio 672 Cologne Mar 24 59:1 Munich Mar 25 Lido Berlin Mar 27 Prinzebar Hamburg Mar 29 Debaser DFB Stockholm
We are living in a time when beautiful and well crafted music is a rare delicacy. Enter Anders Parker, a soulful folk singer from New York whose sweet melodies and comforting lyrics will pick you up and lift you through the clouds to a far away meadow where only happy thoughts exist. This Iron and Wine look alike opened for Jay Farrar last Wednesday night at San Francisco's Great American Music Hall, beginning his set with an electric guitar, but playing it as if it were acoustic. This was a bit offsetting but he soon pulled out an acoustic guitar for his song "Missing".
Another electric guitar, this one blue and tuned to a lower octave, accompanied him while he sang "Dear Sara", easily one of the best songs of the night. The chord progression of this tune full of yearning was amazing and he hit some higher notes with such precision that any doubts about his range control were soon vanquished. In addition to his accomplished vocals and guitar-playing (which included some nice staccatos), Parker played a harmonica throughout the show and even created makeshift percussion by tapping his guitar in between notes. It's hard to believe that the first record this man ever bought was Back in Black; but thankfully for us, he has become quite apt at a completely different genre of music.
Jay Farrar gave an excellent performance as well; his vocals and acoustic guitar were accompanied by Mark Spenser who alternated between electric 6 and 12 strings. There was something soothing about Jay's voice that brought back memories of the carefree days of childhood. The way he was singing, it could have been easy for him to sound whiny, but thankfully, he didn't. Although his musical performance was just right, his connection with the audience was lacking; he kept his eyes closed most of the time and seemed very reserved throughout the show.
Farrar gave a memorable performance of "Would You Take Me Back North Carolina" that could make anyone question his Illinois roots and life in Missouri. This song was the most genuine of the night, inducing an intertwined mixture of melancholia and hopefulness, and included back up vocals for the first time. The electric and acoustic guitars worked together harmoniously, unlike a few of the songs where Spenser overpowered Farrar's sound, which was quite unfortunate.
Farrar was very composed throughout his set and seemed very confident in his work, letting the audience know through his well delivered songs that he has been writing and playing music for decades (he used to front the alternative country group Son Volt). The songs alternated between arena sized electric guitar riffs and softer melodies which embodied the difficult-to-decipher-lyrics that almost could be construed as mumblings. Farrar's guitar sound was consistently blues-y, and his voice echoed Eddie Vedder in many of the tracks.
In "On Medication", Mark's quick fingers controlled the electric guitar, while Jay delivered crisp vocals and created an East-meets-West rhythm that ended in a very pleasing controlled chaotic sound. He dedicated "Cocaine and Ashes" to Keith Richards, and delivered two encores-the first of which was a cover of "Ten Years on The Road" wherein Mark's string broke and gave Jay a chance to reaffirm his presence with a great solo while Mark quickly tuned another guitar.
Overall, the performance was excellent, save for Farrar's excruciating shyness and Mark's sometimes overbearing guitar.
