City Winery & WFUV Present Nada Surf at City Winery in SoHo

Nada Surf (noun, verb):"It’s actually referring to something much more existential, it's just surfing on nothing. Being lost in your head or in your imagination but you know, whenever I listen to music I always find myself off somewhere. Somewhere in space. You know, in mental space and it's a reference to that.-Matthew Caws

What is there to say about a band like Nada Surf? Consisting today of, Matthew Caws, Ira Elliot, Doug Gillard, and Daniel Lorca, Nada Surf were a post-grunge infant riding the wave of that moment in time.  Awash in the mid to late 90's alt/grunge/anti-rock, they existed. Unlike Alice in Chains, Soul Asylum or arguably the biggest blow up of the era Nirvana, Nada Surf just kept existing. Admittedly towards the end of my dalliance in high school this group was Popular. 

Honestly until they made a highly anticipated splash on a Monday night in March at City Winery, the Nada Surf wave had all but cast out to open waters for me. I was caught up in the Lilith Fair, PC, folkie experience, and didn’t really take to notice Nada Surf. While they continued to make records, tour the world, develop quite the following and become even more popular in Europe, I was falling under the spell of Tricky and Massive Attack. 

While they self-produced, took hiatuses, and reconnected, I remained inept. They have made quite the career for themselves; what have I done over the same time period? I don’t mean to get too cerebral here but that was really the takeaway from this show for me. These were artists who burst onto the scene with a racy video, washed out distortion, and pillaged the spoils of this time. They could have, like so many other bands before them, exploded, broken up, gotten back together, been cast in and out of rehab, and remained at the forefront of our insatiable tabloid culture. But they just chose to keep going.  

Of course they stumbled and had their doubtful moments in the trajectory of their careers, but if the acoustic renderings at City Winery in SoHo were any indication, this is a band that hit the timing just right with their first single and then matured. Like fine wine or slowly braised beef, this group took their time and kept at their craft. The career of someone like Beck would draw apt comparisons in this protracted maturation. So now, all these years later Nada Surf were here and so was I.

This was an event at City Winery but it was also an event that was hosted by the radio station WFUV. So to begin the evening someone from WFUV and Caws came out onstage to have a conversation about this very maturation. Caws who now lives in Europe, waxed poetic about growing up in New York City and listening with his own small radio to catch the newest sounds of the day from local stations of the time. He also talked about how the band has grown and stretched out but still manages to return back together, come to a recording studio in Brooklyn every few years and make new music. This is the situation for modern bands today though. Like the band The Postal Service, Nada Surf don’t even all live on the same continent anymore but through the use of digital means they can still come together, share their work, and create amazing music. 

Really though this night wasn’t about their recording process or the maturation of their sound, it was about the songs. The audience was jam packed into City Winery for the earlier of the two shows on a Monday night in March. With the interview out of the way they just got into the making of music.

“Cold to See Clear” was their first song they played. From an ad hoc survey of cheers, Caws seemed to glean that many in attendance this evening hadn’t gotten their newest record. The recently released and very good “You Know Who You Are” was available for sale at the merchandise table; undoubtedly this was going to be a hot seller this evening. 

The second song, “Whose Authority” from 2008’s “Lucky” was a lot more familiar. There was a noticeably more upbeat, cheering, grooving vibe happening when they tore into classics.

Keeping up with some of their newer stuff, the third song that they played as “Believe You’re Mine.” This was around the moment I noticed something interesting. This was an “acoustic” show and the sound inside City Winery is totally geared towards that. The rhythm and lead guitars were both acoustics. Even the drummer was playing hand drums on some kind of standing snare with the wrist tambourine included for many songs. But the bass player still had an electric bass. Granted the lead and rhythm acoustic guitars were “plugged in” and everyone could be “heard.” Still, for an acoustic show, it seemed rather bass heavy. 

In keeping with the new and old and new pattern, Caws said that they would reach back in the annals again, playing two goodies from “The Weight is a Gift,” “What Is Your Secret” and “Concrete Bed.”

The show continued on for a bit but rather than stridently take notes for the remainder of the evening, I put my phone away and just enjoyed the performance. City Winery usually allows a lot more leeway in their starting and ending times but because the show I was at was the first of two for the evening, the end did come about too quickly. Still for what it’s worth this rediscovery of a classic band I never really appreciated was well worth the time. City Winery as always remains an amazing venue and Nada Surf’s an exciting group. This band is a group who still know how to rock but also can appreciate the silent spaces between the slides of their reverberating instruments.

City Winery Presents: Jim Weider, G.E. Smith & Jon Herington "Masters of the Telecaster" at City Winery in SoHo

New York, NY 2/28//16

One of the most exhilarating instruments that anyone can play and develop any kind of mastery of is the guitar; second maybe only to the voice. It is still always thrilling to be able to see a really good guitarist or a really good vocalist. This is why guitar players and lead singers tend to take front and center in popular music, rock, punk, metal, alternative, et al. Like I said it’s a thrill to see just one of the greats onstage so when you’ve got three masters of their ax in one show, you can pretty well bet you’re bound to have an amazing time.

So it’s with great anticipation that I sat in the audience at Lower Manhattan’s City Winery on February 28, 2016 to enjoy their Masters of the Telecaster show. Jim Weider, G.E. Smith & Jon Herington all came out to show their chops and entertain the whole house.

Known for his signature bluesy sound, Weider has been subtly shredding for decades. Perhaps best known for his work for 15 years with The Band, Weider has played at places as far flung as The Berlin Wall to places as close to home as “The Bob Dylan Tribute” at Madison Square Garden. He even played at the inaugural for President Bill Clinton in 1993.

Fans of late night comedy will likely recognize Smith as the former floppy haired band director for The Saturday Night Live band; a post he famously held for 10 years. Smith has also recorded and played with the likes of Mick Jagger, David Bowie and Roger Water’s WALL LIVE Worldwide Tour.

Herington is a bandleader in his own right and has enjoyed a great deal of success with the Jon HeringtonBand. However since 1999 he’s been the guitarist of choice for touring and recording with Steely Dan. Herington has also played with the likes of Donald Fagen, Boz Scaggs, Bette Midler, and others.

As a quick aside, for those unfamiliar with the term, the Telecaster is a model guitar from legendary guitar maker Fender. Introduced in 1950 the company calls this model “The One That Started It All,” and the list of musicians who’ve used it can attest to this fact. From Bob Dylan to David Gilmour to Merle Haggard to Chrissie Hynde, Alex Lifeson to Johnny Marr to Keith Richards to Muddy Waters to Jimmy Page to Bruce Springsteen to Joe Strummer, this first commercially successful model electric guitar has graced the hands and the skill of countless musicians.

So it was on this unusually balmy February evening we were all in place to see the Masters of the Telecaster. The arc was to be eclipsed and art was to be shared inside City Winery on Varick Street in Manhattan.

The vibe inside the intimate space prior to the lights going down was characteristically upbeat. While the audience wasn’t nearly as packed as it could have been, it was a Sunday night in winter. Still that didn’t stop the energy for the show. Enthusiastic audience whoops and wails made the space feel far more full. Everyone here wanted to see these three artists shred.

With all that as the lead-in the three ax-men ambled out to the stage at the same time. I wasn’t sure what to expect with these three legends in their own rite, but I certainly didn’t imagine they’d all erupt onstage together. It wasn’t boastful though and in hindsight was totally appropriate. They all took their spots before three front facing microphones and plugged in their guitars.

For a brief moment I feared they would all try and harmonize or something but they used the microphones sparingly and never really in concert. We weren’t here to see them sing we were here to see them play.

As the Academy Awards were going on at the same time, the guitarists were more than aware of this competing entertainment venue. Still, G.E. Smith cast away fears of everything lame when he said. “We’re gonna play something you won't hear at the Oscars; we’re gonna play rock and roll!” With that proclamation the crowed erupted and all in attendance were locked in.

The first song was an instrumental tune that I did not recognize, but the formula was recognizable enough. The three men and their backing bass player (Jeff Hill) and drummer (Randy Ciarlante) evoked a smooth and familiar soul groove. The three leads traded licks with one playing the rhythm line, another soloing and a third adding in where they saw fit. Perhaps it was a bit of lead harmony or perhaps it was a bit of rhythm line punctuation; whatever was needed the three were all there for one another.

This Masters program is something that’s been done before albeit not always the same players. Still you can tell they were familiar with one another as the young lady sitting next to me at City Winery commented. The three moved seamlessly from their featured solo line to supporting rhythm line and back again in virtually every song.

The fun that these musicians were having onstage was electric; even the backing band got were keyed in. Hill joyfully romped along in his black fedora hat while Ciarlante emoted powerfully on even the most deliberate backbeats. The bass players handling was luscious and the tight drummer even changed sticks a number of times; moving from traditional sticks to “rute” drumsticks (thin dowels all bound together for a lighter sound), even subbing in timpani mallets to get the proper ride cymbal crescendos. As a humorous aside, Ciarlante even dropped one of his sticks while playing but didn't miss a beat!

The musicianship was top notch, the camaraderie was terrific, and all in all the sounds were sweet and together. Whether you were stoked from their version of the Sam Cooke classic “A Change is Gonna Come,” or lapped up their cover of Tom Waits “Chocolate Jesus,” or were tickled by their version of Carter Burwell’s score for the Coen Brothers “Blood Simple,” there was an eclectic flow and an inviting ambiance which kept everyone in attendance hungry for more. 

At one point a reflective Smith told a tale about the old Lone Star Café on 13th St. and how he was invited by the spontaneous live band NRBQ to come down and play with them one night with mere hours to spare. He described his contribution to the evening as “terrible,” but still displayed a definite reverence for the band and a fondness for the old venue.

Mention of Lone Star evoked wails of approval from a segment of the audience and all that got me thinking about where we were sitting. With so many venues opening and closing all the time, this is one of the reasons so many amazing musicians have sought out a space like City Winery. The intimacy, the acoustics, the staff and the audience are all top notch at this SoHo destination.

If you have an interest in finding out more about any of these Masters of the Telecaster, Smith, Weider, and Herington all have their own websites. Folks who want to know about this or future shows from City Winery can sign up for regular updates from the venue. Master of the Telecaster was a lively show and a lot of fun; so it’s worth it to keep your ears open for future activity! 

Keller Williams "KWahtro" at City Winery in SoHo

New York, NY 2/12/16

It was an evening of bone chilling cold on Friday, February 12 but the vibe and the energy coming out of SoHo’s City Winery were rip roaring hot. Keller Williams and his KWahtro brand of “acoustic dance music” with his touring mates Gibb Droll (guitar), Danton Boller (double bass) & Rodney Holmes (drums) came in and laid their own brand of groove down.

Just in case you were wondering what the funk “acoustic dance music” was all about, Williams describes it thus:

“Using my songs as a template for creations involving improvisational bursts of new disco, reggae, drum and bass and jazz swing afro trap, all with two acoustic guitars, double bass, and drums. This project is an attempt to bring my vision to life and as always, to entertain myself onstage while hopefully entertaining you.”

Williams and his brood are nothing if not entertaining. The whole house seemed to really enjoy his self-professed nouveau melding of styles. Being unfamiliar with his body of work before seeing the show, I approached the Varick Street destination with a skeptical eye. However by evenings end even I wanted to “Hula Hoop to the Loop.”  

Williams has a rich history of music and recording that actually reaches back 20 years. He’s got a predictable habit of one word album titles; “Freak,” “Dance,” “Breathe,” “Laugh,” “Home,” and many others leading all the way to his most recent recording “Vape.”  I only call this predictable because he seemed to be solely focused on the music and not really about the pomp and circumstance of his place in the room. His energy and concentration were totally committed to his playing and his art.

Williams called this presentation “acoustic dance music” and it shows. Still, most dance music is simple grooves with lots of repetition. I was more fascinated by his commitment to the intricate rhythms he laid down. He entered the stage barefoot in black trousers and a black t-shirt, spinning. He cut across the stage in something of a figure 8 style all while playing a solo slap guitar full of reverb and funk. He didn’t boastfully call attention to himself; he just kept his joy in the groove.

He stayed out onstage for a couple of songs by himself. His first song  “Cadillac" had many of the typical musings of a confused, southern artist. He was trying to get back to some illusive ’59 Convertible Cadillac with tons of speakers. His journey commences with Allah, Buddha, God, Santa, Hare Krishna, and Jesus. The depth of this song is further heightened by the fact that it’s daylight savings time while he’s on the train. The loss of time, energy, and the title car evokes the caustic hopelessness of Samuel Beckett’s “Waiting for Godot.” Despite the heavier themes gleaned on deeper reading, the spirit of the song was upbeat and fun.

From there he totally switched gears to one of his most recognizable songs, “Doobie in My Pocket.” This song was an anxious meditation in an airport line that he’s left a shirt with a joint in his bag that’s about to be screened and all the possibilities therein. He could get in trouble in a variety of ways.  He even surmises he could lose the joint to some disgruntled airport worker, police officer or even somehow a Starbucks employee who’s on the take. As the song draws to a fervent close he realizes that he’s wearing the shirt with the doobie in his pocket and all is right with the world again. The anticlimax of this tune is that none of his apocalyptic predictions came true and he’s once again free to puff away, for now.

Many of the sounds coming from KWahtro and Keller Williams seemed quite familiar.  Despite his sometimes-exotic presentation this guy owes as much to Don McLean and Jaco Pastorius as he does to Jackson Browne and Weird Al. His sound is one part “Soul Suckin' Jerk” and one part “Lose Yourself to Dance.” Simplistic comparisons are with jam bands like Phish or The Grateful Dead or even bluegrass or country. Still, rather than taking all these mainline sounds and dumbing them down or mucking them up, he uses his electronic synthesizers, plays some fierce fast rhythms on his slap acoustic, and spools out a fresh sound for the refined palette that’s more distillation than dilution. Williams is paying homage to all those who’ve come before him and still keeping the vibe fresh and original.

One of the big caveats on his live shows is that Williams never does any two shows the same. On the evening of the show, I heard more than one of his longtime fans effusively gush to this sentiment. The young woman sitting next to me at City Winery and I struck up a conversation before the show began and her approval was overarching.

Williams kept this show fresh by gradually introducing all of the musicians in his ensemble. He began playing alone; then brought out Droll to play a second guitar line for a few songs. After that he introduced Boller for a couple of tunes before completing the ensemble with the drummer Holmes.

All the while the audience kept their groove going. The young woman next to me became “one with the music.” During “Nepalese Temple Balls” she openly laughed and taking cues form elsewhere in the room began singing along and swayed with the songs. She was not alone; City Winery had a section in the middle of the house where people had cleared a space to begin pulsing and gyrating; it was almost as though we were introducing a 1960’s love-in with Deadhead Dancers leading the charge. However the mood and the atmosphere at City Winery never hiccoughed into a trippy place; everything remained peaceful and pleasant while still energized and enigmatic.

As I reflected I realized that I wouldn't call this acoustic dance music; this seemed to be more like an opera or gradually ascending symphonic movement. Beginning with the quieter solo work this moved up to a duo, then a trio, culminating with the full ensemble. People could dance, but you didn’t have to in order to appreciate the sounds generated.

The band took a break in the middle and came back as a four piece playing tunes that fans will recognize like “Freaker by the Speaker.” Even though the house was packed and everyone really seemed to be enjoying themselves, there seemed to be a bit of sadness in Williams voice when he introduced a “newish” song and noted, “This song may end up on the radio; probably not.” The life of a touring artist can be cruel but with the very supportive group of fans at City Winery, it seemed clear that Keller Williams and his traveling musicians could at least enjoy an evening of revelry.

As for his fellow musicians, everyone seemed to really get into it. When Gibb Droll took on an acoustic guitar solo he tore it up, furiously shredding and turning his clenched grimace skyward in his worship to and from his guitar Gods.

Danton Boller was introduced as not really being all that familiar with the style of music he was playing this night. I don’t know too much about this musician or how long he’d been playing with Keller Williams but he definitely held his own on the standup double bass.

Then there is the matter of Rodney Holmes. This guy is a pretty amazing drummer! Just before the four piece’s finale, Holmes was allotted time on the stage for his own rollicking solo which went on for several minutes. He was equal parts swinging Max Roach finesse and thunderous John Bonham power and he earned his spot on the throne this night.

Keller Williams definitely has a following. People unfamiliar with his style may not appreciate his electronic/acoustic music, but when I watched an older video before the show of his looping himself on top of himself, I recalled something I fell in love with some years ago.

Ingrid Michaelson was a featured performer at the Michael Dorf “Music of REM Tribute Concert” at Radio City Music Hall. This event led to an awesome after-party at the same City Winery where Williams played. But when Michaelson took the Radio City stage she actually looped her own voice as the underlying part of the strings and piano in REM’s “Nightswimming.” Keller Williams use of this tool tonight was sparing. When he did employ it, his interpretation was a little more funky and explosive than graceful and melodic. However this is the new world of music we live in and both approaches lend a captivating effect for the careful listener.

Following the Holmes solo, Williams returned to cover Joni Mitchell’s “A Case of You,” and riff off of the Savage Garden chorus to “I Want You” before the lights came on and the crowd spilled out into the frigid SoHo air.

Keller Williams continues the tour through the spring and even has dates listed out as far as August. If you’re a fan of funky, upbeat, joyous, explosive tunes and you’d like to come get your barefooted groove on, come out and witness the Keller Williams experience! You’ll be glad you did!

Marcy Playground - City Winery - NYC - 3/25/12

When I heard that Marcy Playground was coming to one of my favorite Manhattan music venues; all I could think was “Sex & Candy,” the bands 1997 hit song which was its only, to date, charting single.

1997. That was 15 years ago. A lot has happened in the last 15 years; for me anyway. In 1997 I was still a comparative novice to things like modern rock and was still a heavy fan of candy. Regardless the last 15 years have been something of a rollercoaster for Marcy Playgrounds lead singer/guitarist John Wozniak. Marcy Playground has written and released two other CD’s following 1997’s eponymous debut and now they are back with a fourth album “Leaving Wonderland…in a Fit of Rage.” Wozniak boasts the new album is “by far the best thing I’ve ever done.”

So it was with a great deal of anticipation that I took the A trains long journey from Northern Manhattan all the way down to the City Winery SoHo location on a brisk Sunday night in an otherwise tropical New York City winter/spring to see Marcy Playground and find out just what Wozniak was talking about.

The ambiance at City Winery was relaxed and jovial as it always is. The place was full of Marcy Playground fans because as soon as they introduced the band everyone “shushed” everyone talking and waited for the music to begin.

Wozniak came out alone at first and began playing the admittedly appropriate “All the Lights Went Out.” My wife asked me if this was a one man outfit. As though on cue the bass player and drummer entered the stage and began accompaniment following the first verse.

Maybe one of the things which most immediately impressed me about Marcy Playground was their deep bass lines and audibly vibrant tones. Because my investment with this band to this point had not been very deep the only tune of theirs I knew was kind of timid and sparse; radio-friendly as it were. There were certainly other songs they played tonight which I could see coming across on the FM dial but that wasn’t the whole deal with these three; there were sonic arpeggios and long, dissonant periods of feedback.

In the middle of the third song Wozniak made a motion to hold on for one second and he went offstage to change guitars. He would do this again. He couldn’t seem to decide which of the two identical looking guitars he liked. If you hadn't seen him walk offstage during “Devil Woman” you never would have known that he'd left. The bass player and drummer kept a rollicking beat going for 16 bars or so while he was offstage and his absence just sounded like an extended bridge.

I'm sure he wasn't intentionally trying to upstage him but I was enthralled with the drummer, Shlomi Lavie. In very minimalist fashion he had the most basic setup: snare drum, bass drum, bass-tom, hi-hats, and a ride cymbal. That's it. But watching him play was like watching Animal from The Muppets. He thrust his arms and flailed about in such a crazy way, it was mesmerizing for me as a former drummer anyway. Ask any drummer; getting a good “crash” from a ride cymbal is difficult. To compound his thrashing though many of his crashes included him banging on his open hi-hats.

The bass player, Dylan Keefe, was interactive with Wozniak and Lavie. On more than one occasion he chimed in to one of Wozniak’s musings. Carefully reminding the audience not to give Wozniak too big of an ego. Keefe also did a really nice thing and told an abridged story of Michael Dorf who founded both City Winery and earlier The Knitting Factory and gave his heartfelt thanks to the venues owner.

Towards the end of their set the three had a dissonance reckoning with everyone playing as fast and with as much extended feedback as they could for about 5 min.

When they finally got to “Sex and Candy” they were almost done with their set. Wozniak called the song an indelible gadfly. The song included a somewhat muted sing-along (their instruments were still really loud) and just like that the evening was over.

Marcy Playground are back on tour and that just makes me feel old. But if you’re like me and miss that lost generation we knew as the 1990’s, check out Marcy Playground when they swing through your neck of the woods.

The Southern Gentleman Tour, City Winery, 2/21/12

The mood was jovial at City Winery in Manhattan on a recent February Tuesday. There were some southern gentlemen in the house and their aims were pure enough. The Southern Gentlemen tour is the collaborative arrangement between Ed Roland of Collective Soul and Kevin Griffin of Better Than Ezra. Both bands stake their roots in the south (Georgia and New Orleans, respectively) and from the ambling demeanor of the evening, both appear headed for the same ends as my dear old grandpa and others I'd met while living in the south. Folks in the south could just go on for days about anything and everything (which, coincidentally, appeared to be the narrative of the Southern Gentleman show). They spoke about their families, their kids, their misadventures one day prior to Mardi Gras in New Orleans, and their love/hate relationships with their respective bands (which, Roland says, is like another marriage).

Six minutes past the top of the hour and there was a fair amount of seats towards the rear which sat vacant. I wondered if that would change as the night progressed and it really didn't. Throughout the evening though I learned that the Southern Gentleman Tour began in this same venue months prior. Many of the fans who were here on this February night were also here in October. And it was a Tuesday night in the middle of winter; so in a way I understood the sparse audience. This seemed more of a thank you to the die-hards; fans who were there were cheering in full support.

When the two hit the stage I must admit I was a little taken aback but for different reasons. Anyone who knew Collective Soul in the 1990's knew that Ed Roland had something of a Jesus/wrestler thing going on. He had long hair, a beard, and appeared very muscular. He struck these epic poses, he led his crew around; shepherding them through their troubles as it were. Roland today looks totally different. He came out in professorial spectacles, had a curly gray bob-haircut, and had a suit jacket on. Having just brushed up on my Collective Soul earlier in the day I had to admit I was a little surprised.

Kevin Griffin looked the same. Basically the same. Tall and skinny. Roland I would later discover is only a few years Griffin's senior. However it was something about their respective dispositions which also made an impression. For Griffin who did a lot of the talking; he seemed very comfortable with Roland (and their percussionist/accompanist) and comfortable with the audience. Roland on the other hand seemed very comfortable with his stage-mates. And he communicated easily enough with the audience; it just didn't appear to be what he preferred to be doing. I don't know if it was just the way he was feeling this night but I got the impression that Roland was much more comfortable playing than he was performing.

These two showmen didn't waste any time jumping right into the fracas with one of Collective Soul's more well-known numbers, "December." They played a couple of songs together before Roland took to the stage himself to play some songs of his own, Collective Souls, as well as another group The Sweet Tea Project.

Songs rolled off his guitar which I was unfamiliar with. Lyrics like "Goin' to Birmingham" and "When it comes down to love" were in the mix. Then he introduced two new songs. "You Said That You Loved Me," had a droning and monotonous repeat of title or the line "it was a long time ago." The song ends with refrain Amazing Grace ("…how sweet the sound that saved a wretch like me…"). All I could think was some songs should stay in the studio. Apparently his wife agreed. He wrote this just the week prior (or so he says) and played it for her on Valentine's Day. She rejected it so he wrote an upbeat poppy tune, "All I really need is love." This song was full of biblical allusions "walk the earth," "once was lost," "lift you up." However when he capped off this tune with the same refrain from "Amazing Grace" it was funny. So I guess the lesson here is that you never know what you've got until you tag it with a familiar refrain. He also played a surprisingly reflective, quieter, almost pained version of another one of Collective Souls more well-known songs, "The World I Know."

Kevin then came on and played some of his songs. It's interesting I have very detailed notes from the Roland solo session but my only notes about Griffin's time was "Kevin played..." I think that's because he was a lot more entertaining. Don't get me wrong I liked Roland's songs but I guess it's akin to studying for a test or going to a birthday party. Or so it seems to me.

The whole of the evening came across less as a Southern Gentleman's tour and more of a real mellow jam session between friends. Their whole thing was just two singer songwriters telling stories, razzing one another on the couch.

I am more familiar with Collective Soul than Better Than Ezra, but I was shocked to find all the work that Griffin had done on popular songs with artists. The two guys had stark contrast in their demeanor. Griffin appeared that he could care less. He was impersonating Bono and took the stage as MASTERS OF RAWK!

Roland on the other hand was a lot more reserved. His demeanor was open but he looked tired. He appeared to almost be saying, "are you serious? You guys are going to let me play another day?" - as though he knows his jig should have been up. But he's a good musician. So he should just milk it. Maybe Roland is moving into a different phase in his life. Griffin on the other hand was busy singing about Daisy Dukes and Ugg Boots. I could picture Griffin being the kind of guy to leave the toilet seat up, as it were.

When both reappeared they played songs like "Shine" which had the extended "Midnight Train to Georgia," remix and "Good". The whole crowd remained engaged for both choruses and requisite "YEAH" or "Aha."

For their encore they came out and played a really brief medley of "Wonderwall," "Kids" (MGMT),"Shattered," "Feel Good Inc," "White Wedding," and I think that was it. And then the show was over. The lights came up, the doors swung open and we all spilled out into the streets.

And everyone who'd been to that show on that night couldn't stop smiling.

Sources:

https://www.facebook.com/southerngentlementour

http://www.collectivesoul.com/

https://www.facebook.com/KevinGriffin

http://www.betterthanezra.com/
http://www.youtube.com/watch?v=6exsatE-DUk

https://www.facebook.com/thesweetteaproject

http://www.youtube.com/watch?v=n7TLTjqUyog

http://www.youtube.com/watch?v=_m0bI82Rz_k

http://www.youtube.com/watch?v=RF9fqx4H_Cg

Bob Mould at City Winery in Manhattan

New York, New York - 2/9/12


I must admit that when I heard about the legendary Bob Mould coming to my favorite intimate New York City music venue, City Winery, I was really excited. I was not as familiar with his work as any fan of alternative rock probably should be; I had heard some songs from Husker Du and I actually had one track from Sugar on a CD compilation some time back. But I was not as familiar as I should be with his whole body of work. Regardless, City Winery is one of my favorite spots to see live music and this Mould show did have an excited energy about it.

As my wife and I approached the Varick Street venue in the still February cold, the insides of City Winery looked packed. Usually this place gets pretty full but a full half hour before the show the place was buzzing so we did our part and got to our seats quickly.

Obviously Bob Mould solo is not Bob Mould with Husker Du, Sugar, his backing solo band or even any of the work he’s done with any other artists (like his work with the Foo Fighters). But I was surprised when the projection screen in front of the stage was lifted and the stage was bare save a microphone stand.

Mould entered from stage right in a pair of worn blue jeans and a black short-sleeved t-shirt. He had a guitar around his neck, a piece of paper with his set list, and three bottles of water. A lot of the fans in the audience were a tad on the older side. This would make sense since Mould began his musical career in the late 1970’s. But these fans went nuts when the singer took the stage. They all began clapping and engaging in a seated cavorting and pumping their fists in the air and thrashing their heads to and fro.

From the moment he began to sing over his wash of hard-charging guitar chords I was really able to hear the derivation of the angst-ridden modern rock which I grew up around in the early 1990’s. He stepped out on stage and the only thing he said was “I’m not going to talk; just going to play.” And he played. One song ran into the next ran into the next. His fading riff hadn’t even gone out before Mould had attacked the next song.

Mould was exercising the same angst in the 1970’s and 80’s. As I scanned the older gray haired gents in denim collared shirts who are head banging along with a song like “Your Favorite Thing” mouthing the words as they go; I was struck by an inescapable fact. Nothing about life gets any easier; not for this middle aged rocker on stage who still appears as anxious as if it were his first time before an audience, not for these apparently happily married guys who have their grown kids sitting across the table from them. Not for anyone.

The one lyric that I really walked away from on this evening was when Mould said “…Let’s see what the future brings; I wouldn’t mind; and I can’t tell you what’s been happening; I don’t know…Not at all.”

That’s it people. Your life is what you make of it; right here; right now. There is no tomorrow and yesterday’s already done.