Life is Music™

Together for their first shows since the Basilica Block Party in Minneapolis last year, The Jayhawks reunited for a long awaited trio of concerts at First Avenue.  The band warmed up for these concerts with an in-store performance at the Electric Fetus record store and a live taping on 89.3 The Current.  After that it was three shows at the infamous First Avenue.

I attended nights one and two.  With the sold out “Rock the Garden” concert keeping the younger crowd busy just across town, the capacity crowd on this Saturday was predominantly middle aged and brimming with energy.  The Brooklyn based duo, KaiserCartel, opened before The Jayhawks finally took stage.  At that time I looked throughout the crowd and saw nothing but smiles.  The band opened with the hit “Wichita” from their classic 1992 record Hollywood Town Hall.  From their they worked through songs from every era of the band before ending the show with a five song encore.

The Jayhawks

Gary Louris

Gary Louris & Mark Olson

The Jayhawks – First Avenue – Saturday, June 19th, 2010

Wichita
Pray For Me
Real Light
Red’s Song
Nothing Left To Borrow
Tomorrow The Green Grass
Let The Critics Wonder
Two Hearts
Settled Down Like Rain
Nevada Ca.
Falling Star
Two Angels
Blue
I’d Run Away
I Don’t Want [Sir Douglas Quintet]
Miss Williams Guitar
Lights
Bad Time
People in This Place on Every Side

Encore:
Waiting For The Sun
Ann Jane
Will I Be Married
Over My Shoulder
Last Cigarette

Sunday night the crowd was more mixed with younger people but the smiles didn’t change.  Once again First Avenue was electric with anticipation for the legendary hometown band.  After local band Strange Lights got things going with a moody rock set, The Jayhawks took the stage with ease and all smiles.  They opened the night with the song “People in This Place on Every Side” from their recently released The Bunkhouse Album.  Once again they worked in their hits including another beautiful version of “Blue”.  That song has never sounded better and will never get old.  They ended the night with a four song encore including an absolute goose-bump inducing “Tampa to Tulsa”.

Each night I witnessed professional musicians at their finest.  The Jayhawks were smooth, playing as though they had never taken a break.  The band didn’t hesitate to call out friends in the crowd making each night feel intimate and fun.  The Jayhawks are an amazing band.  Lets hope that they continue playing together.

Mark Olson & Gary Louris

Gary Louris

Marc Perlman

The Jayhawks

The Jayhawks – First Avenue – Sunday, June 20th, 2010

People in This Place on Every Side
Up Above My Head
Red’s Song
Real Light
Nothing Left To Borrow
Tomorrow the Green Grass
King of Kings
Two Hearts
Clouds Settled Down Like Rain
Someone Will
See Him on the Streets
Blue
I’d Run Away
I Don’t Want [Sir Douglas Quintet]
Miss Williams GuitarLights
Bad Time
Wichita

Encore:
Ain’t No End
Sister Cry
Tampa To Tulsa
Will I Be Married

The Jayhawks – First Avenue – Monday, June 21th, 2010
Wichita
Over My Shoulder
Real Light
Red’s Song
Nothing Left To Borrow
Tomorrow The Green Grass
Let The Critics Wonder
King of Kings
Two Hearts
Settled Down Like Rain
Martin’s Song
Take Me With You When You Go
She’s Not Alone Anymore
Blue
I’d Run Away
Miss Williams Guitar
Lights
Bad Time
People In This Place On Every Side

Encore:
Tampa To Tulsa
Waiting For The Sun
Will I Be Married
Almost Saturday Night* [John Fogerty]

Brendan Bayliss shines

“I’m just being a representative of the Midwest.”

Brendan Bayliss sings that lyric in the Umphrey’s McGee’s tune, “Slacker”. Yet when it comes to playing shows in the Midwest, Umphrey’s McGee has never slacked. Instead they continuously bring multi-day runs to the heart of their fan base and the fans show up big, oftentimes from all parts of the country. In their fourth year at the best rock club in the Midwest, the prog-rocking powerhouse brought it larger than ever with the inclusion of their newly innovative and wonderfully orchestrated Stew Art series (S2).

In the Stew Art series (named after “Jimmy Stewart” which is what the band calls their improvisational jams), a very limited amount of fans not only get to direct the music the band plays, but there is a question & answer and meet & greet session. I was fortunate to have taken part in this and it was a fantastic experience that I’ll never forget.

On Friday, March 12th, a capacity crowd welcomed the Chicago band with high spirits as Umphrey’s McGee returned to Minneapolis for night one of their three night run at First Avenue. The first set was a good primer for things to come. The second set rocked. And their were still two days left.

Friday, March 15th, 2010 setlist:
Set I:  Spires, “Jimmy Stewart” > Linear > Mulche’s Odyssey, Much Obliged > Hajimemashite > Glory > Hajimemashite, Hurt Bird Bath

Set II:  Professor Wormbog > Booth Love*, Cemetery Walk II > Making Flippy Floppy**, Gulf Stream > Miss Tinkle’s Overture > Masoka Tango > Miss Tinkle’s Overture
Encore:
Got Your Milk (Right Here), Waiting Room

Notes:
* with Get Up, Stand Up jam
** with Can’t You Hear Me Knocking jam

Brendan Bayliss

Umphrey's McGee

Ryan Stasik

Umphrey's Mcgee

Saturday afternoon I was one of fifty people to take part in the Minneapolis edition of the Stew Art series (S2) which the band started last fall in select cities. When we entered First Avenue, the shadowy club was dimly lit and a large projector screen stood upon stands on the main floor. Pizza and refreshments were provided and half an hour later things got started.

The idea behind Stew Art is to give the fans ultimate control over what the band plays. Fans text message ideas to the sound guru, Kevin Browning, who then displays them on the screen for the band to read. The band makes up the music on the spot and plays a few minutes before molding directly into the next idea which is highlighted. Entering (S2), I was a bit skeptical about this process, but Umphrey’s McGee quickly put those thoughts to rest. The precision of how they play while directing each other is nothing short of amazing. The band’s Midwestern humor has always been evident to me, and on this day hilarity oftentimes ensued from the ideas the fans sent in. Imagine for a moment the band playing as Revenge of the Nerds, or guitarist Jake Cinninger making up words to “Divisions” as he sang like Johnny Cash. That’s how things ended, and when it was over, it took a long while before I could wipe the smile off my face.

After a little over an hour of music, the band then stepped onto the floor to talk and sign autographs. It was a nice experience to talk to the band and their crew. Guitarist, Jake Cinninger, summed up the musical energy the band brings to every show. With a goofy smile on his face he illustrated to me how moments of their live shows peak, “It goes to you, it goes to me, it goes to you, it goes to me, it goes to you, it goes to me…..” The band’s openness and sincere appreciation of their fans is something to be admired.

Stew Art (S2)

Stew Art (S2)

Stew Art (S2) - Waful designs #1

Stew Art (S2) - Waful designs #2

Stew Art (S2) - Waful designs #3

Those who attended the Stew Art got to stay in the venue for the night’s show. Doors opened at 6PM and the venue was quick to fill. The band sounded well rested and they brought great energy straight from the start. The first set rocked.   The second set opened with the title track to their spectacular 2009 release, Mantis. The song was huge and from there I knew the second set was going to get heavy.  The band worked into a jazzed up version of “Wappy Spayberry” with the help of Minneapolis  saxophonist, Kevin Sinclair.  “Fussy Dutchman” was excellent before a dark and nasty “Ocean Billy” into “Plunger” mash. This was the best show I witnessed all weekend, and one of my favorite Umphrey’s McGee shows ever.

Saturday, March 13th, 2010 setlist:
Set I:  Prowler > In the Kitchen, Cemetery Walk > Pay the Snucka (parts I & II) > Atmosfarag > Resolution* > In the Kitchen , That’s All > Pay the Snucka (part III)

Set II:  Preamble > Mantis > Wappy Sprayberry^ > Mantis, The Fussy Dutchman, Push the Pig, Steppin’ Razor > Ocean Billy > Plunger > Kula > Plunger > Ocean Billy
Encore:
Alex’s House^, 1348

Notes:
* with Norwegian Wood jam and Rock Your Body (Justin Timberlake) teases
^ with Kevin Sinclair on sax

Brendan Bayliss as yoda

Jake Cinninger

Kris Myers

Joel Cummins

Jake Cinninger shreads

Umphrey's McGee

Sunday, March 14th was the finale of their recent American tour. Minneapolis’ own, Heatbox, opened the show with some funk driven hip-hop. Heatbox is a one-man band minus the tangible instruments. He plays beats and instrumentations with his voice and samples them over before adding lyrics. Umphrey’s McGee joined in for his last tune, and worked straight into “Jazz Odyssey” to start their show as he picked up his gear and left the stage. That’s not a show introduction one often sees.

First Avenue was maybe over two-thirds full leaving ample space to move. This was appreciative on a Sunday night as the band once again rocked for the hard cores. Last year I made some friends at the First Avenue shows. We labeled ourselves the “Circle of Trust” and on this night we returned to the same balcony rail that we met at a year before.

Set one was fun, but set two was powerful. The “Nothing Too Fancy” and “Andy’s Last Beer” mashes got things moving and the wicked “Wizard Burial Ground” encore tore the place down.  This was another terrific show and a great way to end the weekend.

Sunday, March 14th, 2010 setlist:
Set I:  #Jazz Odyssey > Hangover > Wife Soup > The Triple Wide*, Slacker > Dear Lord > Slacker, Rocker (part II) > YYZ > Hangover

Set II:  Nothing Too Fancy > Higgins > Get In the Van > Nothing Too Fancy, Andy’s Last Beer > Muscle Shoals Nitty Gritty > Andy’s Last Beer, JaJunk > London Calling > JaJunk
Encore:
Wizard Burial Ground> Made to Measure > Wizard Burial Ground

Notes:
Heatbox opened
# during his closing jam, Heatbox was replaced by Umphrey’s before seguing into Hangover
* with Rhiannon teases

If Umphrey’s McGee can top this weekend in their next Minneapolis run, I’d be a little surprised. But then again nothing this band does should be surprising. After all, it was Sunday night when singer Brendan Bayliss also sang in “Slacker”, “In the end I must confess, you have yet to even witness our best.”

Jake Cinninger

Ryan Stasik

Jake Cinninger

Brendan Bayliss

Brendan Bayliss

Saturday Set Break

Here’s another reason why Umphrey’s McGee treats their fans better than any band in the business.  First it started with incredible sounding live matrix recordings (mix of soundboard and audience) that the band uploaded for anyone to download for free.  Sound caresser, Kevin Browning, did this for several years until it evolved into UMlive where a fan can now take home the night’s show minutes after the show is over, or he/she can download it later in mp3 or FLAC format.

With spontaneity and trust in mind, last October the band then created the Stew Art Series (S2).  In the Stew Art Series (S2), the band selects certain cities they are already playing and releases a very limited amount of tickets to an all out improvisational afternoon concert where the fans dictate what the band plays on the spot.  A Q&A session and a meet and greet follow with each attendee taking home an autographed copy of the performance.  The band works through each idea the fans dictate with complex signals that keep everyone on their toes.  A portion of the proceeds go to the USTORM charity which helps children and young adults to improve their lives by providing access to various music and arts education programs.  What an awesome idea!

Now the band is now stepping it up once more with their own take on American football.  The first annual UMBowl will take place at Lincoln Hall in Chicago on April 24th, 2010. UMBowl is a 4+ hour musical extravaganza where the band will play four quarters of music, each with a different interactive theme.

The first quarter will be comprised of an acoustic set chosen entirely by the attendees who will cast their votes for which songs will be played in advance.  For the second quarter the band goes back to the Stew Art Series and will text their soundman ideas, he will then display them on a big screen and the fans must text in “plays” and march the band down the field.  The third quarter is the all request quarter.  Once again each attendee will fill out a ballot in advance and express how they want the songs and interludes to go.  In the final quarter, the fans are the quarterbacks.  During the songs the band plays, options will be provided on the big screen and the fans can then text in which direction the band should go.  The band aims to please and any attendee of this game will certainly get their moneys worth.

Umphrey’s McGee has come far.  Along this road to prog-rocking legendary status, it’s refreshing to know they never have forgotten their deep and loyal fanbase.  The band now fills theaters and clubs to capacity all across the country yet they still are willing to keep their ticket prices low.  Continually they look for new and unique ideas to impress and grant open access to their fans.  The band has never hid their love of sports and UMBowl again shows that.  This should be a wonderful experience for all those who attend.  Umphrey’s McGee is the best.  Midwest represent!

Also check out the band’s blog, The Floor, for a behind the scenes look into the day to day happenings of the band.

photo courtesy of Trampled by Turtles

Born from the Superior shores of Duluth, MN, Trampled by Turtles have gained tremendous momentum since their inception as a band back in 2003. Like a snowball rolling down a hill, with each new show and each new album, the fan base grows exponentially. The band now spans out far past the Midwest, playing shows in wonderful venues all across the United States, Canada, and even Europe. But no matter where they are, Trampled by Turtles does not forget their humble beginnings in Minnesota and the fans that helped them attain their modern success.

Original members Dave Simonett, Dave Carroll, and Erik Berry started Trampled by Turtles as a novelty side act to their respective rock bands, but as circumstances would have it, Trampled by Turtles wasn’t ready to play second fiddle to any band.

Singer and guitarist, Dave Simonett, explained the origins of the band in a recent telephone interview, “Well three of us started the band, that’s Eric Berry, Dave Carroll and myself. None of us had ever really played bluegrass before, or this style of acoustic music but we were really getting into it. We’d been playing rock music before, and this band was started as an acoustic side project to those bands. But as time went on, all those bands split and this band was all that was left. I was dead broke and left with just my acoustic guitar, after someone stole my electric guitar and my amp while loading out gear after the last show with my previous band. And like I said, the other bands were gone, and all my gear was gone, so this just naturally happened.” An escalating amount of fans across the country are grateful for that.

One of the most memorable moments for the band in the last year was playing the main stage and the seventh annual 10,000 Lakes Festival in Detroit Lakes, MN. Their growth at this fantastic festival precisely represents their evolution as a band and the direction they are headed in the future. After starting on the small saloon stage in 2004, then growing to the festival’s barn stage in 2006 and 2007, then finally playing for fans as far as the eyes could see on the main stage in 2009, the band has come full circle. “That was a blast!” Simonett said proudly. “That was really something that was so exciting for all of us.”

With a new management team on board, Trampled by Turtles have a tour schedule full of larger venues including the recently announced Stagecoach Festival next April in California. But don’t expect these larger shows to start going to their heads, “We spend enough time packed into a little van and staying on people’s floors to stay grounded.” Dave said when asked if there was a definitive moment that made him realize the band was getting big and he could make a career out of music. “As far as making a career out of it, that was something that I knew personally before I even made my first dollar. Playing music is what I always wanted to do. Before we even started touring or selling any albums, we made that decision to see if we could do it.”

This quintet from Duluth has come a long way with their unique take on bluegrass music and their live show is not to be missed. Seated in chairs, the band bangs out enough raw energy to part the sea and if a listener is brave enough to stand in their way, the music will surely shroud every last bit their being. Their music is as much rock as it is folk, as much metal as it is bluegrass, but one thing it definitely is not, is lacking in sheer power. When asked what part of the country gets the rowdiest at their shows, Simonett responded with a laugh, “Probably the Midwest, but it really depends on where we are playing.”

With four albums under their belts and a new and currently untitled release due out next April, Trampled by Turtles are on a mission to spread their music far and wide. Currently they are doing just that, one unassuming step at a time with fans ever-enthusiastic holding on in the wake of the flood.

Who: Trampled by Turtles
Where: The Aquarium
When: Friday, November 20th
Cost: $15, 21+

Written for High Plains Reader in Fargo, ND for their November 19th, 2009 issue.

photo by: C. Taylor Crothers

Keller Williams is a music lover first and a musician second. The truth behind that statement is especially evident when one sees him perform live in concert. This singer and multi-instrumentalist, who made his mark on music by being one of the most creative and entertaining performers on the jam band scene, continuously tries to put himself in the shoes of his listeners as he invents and reinvents everything he does. And most impressively, what he does onstage he does alone.

Growing up in Fredericksburg, Virginia, Williams was immersed in music at an early age. He sang in the church choir in first grade and by the time middle school came around he was performing in musical theater. In 1986 when he was sixteen he took his first gig with his guitar in hand. Dressed in a jacket and tie he played for tips on the back patio of a small restaurant in Fredericksburg.

“I played for dinner and tips and was doing all the covers I thought people wanted to hear at that time which was the Eagles and James Taylor and the stuff like that.” Williams said in a recent phone interview. ” I was seeing these solo acts play at little lounges at these ski resorts, and that was my goal, to be that dude in the corner.”

Williams put the tires to the pavement and in time easily surpassed that modest goal. Putting his life into the music, there were many years that Williams played over two hundred shows as he lived out of his van with his wife who ran the merchandise and helped manage the operation. That hard work paid off as today Keller Williams fills theaters, clubs and festival grounds with fervent fans that continuously return for more.

Standing barefoot on stage Williams loops from guitar, to bass, to percussion to vocals and before a song is over he’s a one-man band. And if a horn is needed, Williams can play that too, but he does so rather untraditionally with just his mouth and no tangible instrument. “A flugal is what I call it.” Williams said laughing. “The older I get it seems the less higher notes I can hit with it, so maybe I’m sliding down into more of the trombone area.” The real charm though in Williams’ music, is in his story telling lyrics that oftentimes flow from being beautifully sincere to downright hilarious.

As a uniquely creative artist whose concerts can sometimes feel like a flight of the imagination, Keller’s music jumps back and forth through genres then back again leaving it easy to throw him into the jam band ring. Yet it isn’t that he necessarily “jams” so much, but the music he creates defies boundaries that limit so much of today’s popular music. When asked if he saw any negatives for long being associated with the jam band scene, Williams was swift to reply, “I’ve done this for so long that I’ve seen some ups and some downs of this music business and to be put into any kind of class, I feel very grateful. You can call me whatever you want but I definitely don’t see any negatives about the jam band scene. I have lots of friends and lots of fans in the scene and it’s a super positive thing. Anyone who thinks differently is thinking too hard about it.”

photo by: C. Taylor Crothers

Through these years Williams has been busy releasing albums and if one were to judge an album by its cover, his fourteenth release, “Odd”, may induce assumptions of dragon-slaying fantasy rock. But after a few spins his creative brilliance is clear and quite extraordinary. Even more than his previous works, “Odd” bends through everything from folk, to jazz, to techno, to reggae, to rock and it does so with such ease that there is no reason to question it.

When asked why he titled the latest record, “Odd”, Williams explained, “I always want to try and sum up the vibe of my whole record with one syllable. Odd was perfect because I guess I gave myself some odd writing assignments like trying to write a bluegrass science fiction song, or taking on the role of Dr. Doolittle and talking to the rodents and animals who seem to meet their death around my house and to try and warn them. And there’s a whole oddness to how the record flows as far as the genres and its mystic feel. I figured it was only appropriate.”

That’s Keller Williams in a nutshell. This modest man has made his name by doing things his way. His approach to music is easy to distinguish as his songs bounce through the world with no remorse as if to simply say, this is music.

Who:  Keller Williams
When:  Wednesday, October 21st, 2009 – 7:30 PM
Where:  Fargo Theatre
Cost:  $24, all ages

Written for High Plains Reader in Fargo, ND for their October 15th, 2009 issue.

The reigning queen of alt-country, Lucinda Williams, brought her band, the Buick 6, to First Avenue on Friday, September 18th, 2009 for a stop on her 30th Anniversary Tour.  Before the night was over she was a married woman.  She hit the stage alone, nicely dressed in black skirt and a low-cut jacket top and it was obvious from the beginning that it was an emotional and butterfly-inducing occasion as she brought in the sold-out show with a couple of acoustic songs from her first album, Ramblin.

She then brought the Buick 6 onstage and proceeded to work through songs from all of her albums chronologically, ending the set with 2008’s acclaimed album Little Honey that was released on Lost Highway Records.  The Buick 6 were slow to move, but by the middle of the show the engines were revving high with former Iggy Pop guitarist Eric Schermerhorn leading the way.  The set ended with Lucinda playing acoustic once again including a song (lyrics) by Hank Williams that she wrote the music to.  She fought back tears several times before finally setting the guitar down and stepping off the stage. 

Moments later Lucinda took the stage with her poet-father Miller Williams, a tall gaunt gentleman with a soft southern voice.  He spoke of Lucinda and how as a child she was in the room the day he met Hank Williams who died soon after.  Then Miller finally read his most famous poem “The Caterpillar” which was written about Lucinda when she was seven.  Lucinda stood behind her father in the corner of the stage smiling admirably the entire time.  After the poem, the stage filled with family and friends.  The ceremony proceeded with unique vows led by a tall elderly minister and when it was time for the kiss, First Avenue exploded with streamers and confetti.  The ceremony seemed rather unorganized, but it all made for a very memorable rock-n-roll experience and Lucinda and her new husband (Minnesota native) Tom Overby appeared to be truly happy.

After the stage cleared, the band encored with “Happy” by the Rolling Stones.  Lucinda persuaded her groom to join her onstage and he finally did, holding onto her side as she wailed from the center of the stage.  Tom then picked up a white Fender Telecaster and strummed along timidly as the band played an alt-country version of AC/DC’s “Long Way to the Top”.  That’s how this unique and interesting evening ended and it will go down as one of the more memorable experiences I’ve ever had at First Avenue.  The music was good too.

photo courtesy of Julie S.

After cancelling their last two shows in Minneapolis in 2002 and 2005 (2005 cancelled to play Letterman), the Brit-rock band Doves finally landed in Minneapolis on Thursday, May 28th, 2009.  The sold-out show was at the historic little Varsity Theater in the Dinkytown section of the city.

The trio of Manchester, England rockers (with unofficial fourth member on keys) were in good form and in good spirits as their sound pounded through the carpet lined confines of the Varsity.  On tour to support their long-awaited fourth album, Kingdom of Rust, the band worked through a majority of the new album while also touching on plenty of their classic older tunes.  Highlights for me were “Snowden”, “Here it Comes” and “Black & White Town”.  ”There Goes the Fear” was a fantastic closer with everyone in the band banging percussion to end the night.

It seemed this show was an introduction to many in the crowd as a majority of concert-goers were oftentimes emotionless, but the band still brought large applauses throughout the night.  Doves played a very fine show, but I wasn’t much impressed with the opening band, Wild Light, whose redundant indie sound couldn’t keep me interested for a minute.

Minneapolis Setlist:
Jetstream
Snowden
Winter Hill
Rise
Pounding
Almost Forgot Myself
10.03
The Heat Is On tease (Jimi & Martin)
Words
Denier
Kingdom Of Rust
Ambition
Black & White
The Outsiders
Caught By The River
—–
Lonely
Northenden
Here It Comes
Last Broadcast
The Fear

Singer & guitarist, Dan Auerbach, whose resume also bolsters that he’s one-half of the famous power duo, The Black Keys, paid Minneapolis, MN a visit on Saturday March 7th.  First Avenue was slow to fill but by the time Auerbach was onstage the place was packed to near-capacity.  Those Darlins, a foursome led by a trio of young women from Murfreesboro, TN opened up the show with a simple unassuming set of country tinged honky-tonk.  Their spirit was in the right place but their tunes didn’t seem ready for the confines of First Avenue and unfortunately I couldn’t wait for their set to end.

Dan Auerbach’s backing band, Hacienda, was up next and these guys were impressive.  Hacienda is a Mexican-American quartet made up of three brothers and a cousin who hail from San Antonio, TX with their sound equally Texan, mixing a raw yet tight 1960’s pop rock-n-roll vibe with gorgeous harmonies.  This was their first show in Minnesota and they appeared to be having quite a time, and the crowd was equally happy to accomodate as the band worked through a great set of tunes.

Dan Auerbach took the stage at 8:45 and by this time a diverse and respectful crowd had finally packed the room.  Hacienda returned to their respective places onstage with an additional percussionist/drummer stepping out behind Auerbach.  This guy looked all too familiar but the opening song “Trouble Weighs a Ton” had dark backlighting and it was hard to decipher who he was.  When the lights kicked in for “I Want Some More”, the second song in the set I immediately recognized the man.  Minneapolis was graced with the presense of My Morning Jacket’s very own Patrick Hallahan and there he was shaking maracas and bouncing to the beat with his recognizable hair flailing.  Hallahan divided his time between the small percussion setup and an additional trap set and this was a great surprise since I hadn’t been following the tour and had no knowledge that he was backing Auerbach.

For the next 80 minutes Auerbach ripped through rockers and soft heartfelt blues numbers alike with his strong voice and guitar never failing.  I saw the Black Keys two years ago at this very same venue and can only think of where they could go with some keys and a bassist.  Auerbach’s performace was utterly amazing at times, and the addition of the backing band, Hacienda, only made the show stronger and more lively. 

When all was said and done I don’t think a person could have left that room without stating they witnessed a very impressive performance.  Although I’m not a huge fan of The Black Keys, I will highly recommend to anyone who likes old school blues-rock that they check out Dan Auerbach when he comes around.  If he’s not coming to your town anytime soon, go out and buy his recently released solo debut Keep It Hid.  It’s truly a great piece of work by a man whose sound is wise beyond the years.

Saturday, March 7th, 2009
Trouble Weighs A Ton
I Want Some More
The Prowl
When I Left The Room
My Last Mistake
Mean Monsoon
Oh Carol
Real Desire
Money And Trouble
Street Walkin’
When The Night Comes
Whispered Words
Heartbroken, In Disrepair
Keep It Hid
Inside Lookin Out
encore:
Goin’ Home
Hidden Charms

Dan Auerbach

On the run to support the newly released album Mantis, Chicago’s finest band Umphrey’s McGee paid Minneapolis and the best rock club in town a three day visit once again.  It was eleven months since their last shows at First Avenue and expectations were high, especially from those of us who attended the 2008 run.

Night one was Friday, January 30th and for some reason this night turned into the amateur hour.  I secured one of the best spots in the house on the balcony, had a pint, and made some new friends while waiting for the show to start.  Finally Umphrey’s McGee was back onstage in Minneapolis and they opened with “Red Tape” and also worked in “Spires” off of the new album during the first set.  “Miss Tinkle’s Overture” was an interesting rendition but wait, did I just see a crowd surfer down on the floor?!?  No way…

Set two was more lively and became a good primer for what night two would bring.  They brought in the set with “Pay the Snucka” and worked through an awesome “Ja Junk” which pushed the energy levels up.  Hey is that girl crowd surfing down there?  What the shit?  Hey there’s another guy crowd surfing too!  Awesome!!!  I’m surprised the usually iron-fisted and authoritative First Avenue security guards didn’t start cracking heads.  “Cemetary Walk” from Mantis ended the set in style and for the encore they finally worked back to resolve “Pay the Snucka”.  This show was average due largely in part to the disrespectful distractions on the floor, but it did leave a lot of possibilities open for a Saturday night rock show.

Saturday, January 31st was the first time in the entire month of January that Minneapolis reached above the freezing mark.  The sun was shining bright and warm, loosening those winter blues and optimistic smiles were pasted on everyone’s faces.  I went back to the same balcony rail as the night before and met some new friendly faces as well as the guys from the night before.  The area soon became known as ”the circle of trust”.  Saturday night was going to go off!

The band waltzed onstage and drummer Kris Myers clicked his sticks together one-two-three-crack right into the slow and heavy head bobbing “Push the Pig”, a perfect show opener.  “Andy’s Last Beer” was terrific as was “Turn & Run” from Mantis.  For the first time I got to see “Bright Lights” live which was jazzed up by the addition of local-boy Kevin Sinclair on saxophone.  Now there was no turning back.

Set two started with a big “Hell’s Bells” tease which worked into the teenage wasteland “Baba O’Riley”.  Awesome!!  Soon the song “Mantis” came big and my wait was over, this song is grand in every which way.  Not to be outdone, “Front Porch > Resolution” stepped up next and the show officially went off the deep end.  High-fives were flying all around and it was impossible to stop smiling being engulfed in the wonderful energy.  The night ended with a nice “Syncopated Strangers > Cemetery Walk II” mash and then it all seemed to be over too soon.  Thankfully Sunday night was still remaining.

Umphrey's McGee - 01.31.09

Umphrey's McGee - 01.31.09

Umphrey's McGee - 01.31.09

Umphrey's McGee - 01.31.09

Each night Pittsburgh native and bassist Ryan Stasik sported a different Steelers jersey.  Night one was Willie Parker, Hines Ward was night two, and for Super Bowl Sunday it was Troy Polamalu.  First Avenue held a pre-show Super Bowl party and I walked in during the wild fourth quarter and joined a few others who had been watching the game.  About twenty minutes after the game, the curtain was raised for night three and there Stasik was waving a terrible towel.

By the time the headbanging “Wizard Burial Ground” was complete, it was obvious the band was loose and it was going to be a fun night.  With First Avenue maybe two-thirds full there was room to move and soon “Phil’s Farm” brought the boogie and was easily the highlight of set one.

The Mantis number “1348″ that I’d been waiting to hear live opened the flood gates to set number two and it was every bit as good as I had hoped.  Pink Floyd’s “Breathe” cover was a nice treat and “Triple Wide” was fun although not quite as rockin as usual but set-ender, “40’s Theme”, didn’t have a problem making up for it.  The encore of the night was Led Zeppelin’s “The Song Remains the Same” and upon its conclusion a very memorable fist-pumping, music-uniting, rock show of a weekend was over in style.  And I could not be more grateful.

On Wednesday, January 21st, 2009, the people at 10,000 Lakes Festival unveiled their “biggest announcement ever”.  Being a fan of the festival, I waited patiently for the news to come across the wire and when it did it left me scratching my head.  The biggest announcement ever was that Dave Matthews Band, Wilco and Widepread Panic were to headline the 7th annual festival held at Soo Pass Ranch in Detroit Lakes, MN from July 22-25. 

In the past this festival has ebbed and flowed with its artist selections and it’s been my experience that the closer the genres, the better the festival.  Take for example the 2004 festival which mixed powerhouse jambands like String Cheese Incident with MTV faces John Mayer and Maroon 5.  This festival was a disaster and it’s no wonder the gods rained on us for three straight days in the middle of July!  In 2005 the festival seemed to have learned a lesson and booked Trey Anastasio, Widespread Panic, the Black Crowes, Les Claypool creating a much more fluid festival.  In 2006 and 2007 they stuck to that notion which resulted in even better festivals.  Those festivals were a blast!  Unfortunately the lineup for the 2008 festival slipped again when they mixed as headliners the artsy space rockers the Flaming Lips with political hip-hop musician Michael Franti & Spearhead.  The attendance was way down and I sat this one out for the first time.

So that brings us to 2009 and the “biggest announcement ever”.  Obviously the festival is banking on the fact that Dave Matthews Band has a huge following and has never played the festival, but I believe they didn’t look past that to the fact that Widespread Panic has an equally devoted following who for the most part are Dave Matthews Band haters.  Oh snap!

When I first read that Dave Matthews Band would headline a night, I envisioned thousands of bros slapping high-fives, giving chest bumps and chugging beer cans while thousands of Widespread Panic fans gritted their teeth with suspicion.  It’s been my experience that most (not all) hardcore DMB fans have a hard time seeing past the pedestal they have put this band on and have relatively closed minds to other musicians.  This is unfortunate for a smaller festival like 10,000 Lakes Festival whose crowds in 2009 will certainly be dominated by DMB fans.  I’ll be one of few sitting on the fence with one of the best rock bands in America, Wilco.

The super-awesome band Guster gave a great first-hand example of a Dave Matthews Band concert.  In the summer of 2004 Guster opened for Dave Matthews Band during a string of ampitheatre performances and in their road journal as written by drummer Brian Rosenworcel, they documented their experience at Alpine Valley ampitheatre in East Troy, WI.

“After our performance on Sunday, I needed to know some answers. Who were these people blowing off our 43-minute set, and what were they doing that was so much better than watching me beat my hands to a bloody pulp for their amusement? Two beers and one golf cart acquisition later, me and Joe and Chris set out to find out.

The parking lot is all gravel and grass. There’s a section full of chartered busses, a section full of limousines and their bored-as-shit drivers, and endless cars parked in a vaguely linear fashion (but not linear enough that there weren’t a few near-disasters on the cart).  There are people in the parking lot during Dave’s set. Not just limousine and bus drivers, but people like you and me, only drunker. There was no chance of being recognized as a member of Guster out there. Afterall, these people not only blew off our set to hang out in the parking lot, they blew off Dave’s set to hang out in the parking lot. Two girls who flagged us down for a ride (not into the concert, mind you, but to another part of the parking lot) asked “where’d you snag the cart?” The assumption, because we were doing donuts in the parking lot with a golf cart, was that we were not super-official, but thieves. Even when they noticed the credentials hanging around our necks, all they could think to ask was “where’d you snag the laminates?”

The grounds were in pretty bad shape… they looked not unlike the Hatch Shell after The Last Dispatch concert, not unlike some parts of Afghanistan, and not unlike our Earth Day Concert in 2000. There were bottles and crushed cans everywhere. It wasn’t easy to navigate around these obstacles, and a few times I had to use the brake. But as we were making our way into the corner of the lot, by a fence near the woods, things began to look uglier and uglier. Ridiculous amounts of bottles and cans. The quality of the beer was getting worse too. Did someone actually drink thirty cans of Keystone Light!? There were the remnants of ripped up lawn-chairs obscuring our path and random spatulas strewn about. It was darker in this corner than in other areas of the parking lot. I slowed down. Chris said “this is where you buy the crack.”

For someone that’s been on the road for nine years, I’ve been on the wrong side of the tracks a few times. Chicago, East St. Louis, Washington DC. Once I got chased by a kid with a baseball bat while riding my bike through a neighborhood I probably shouldn’t have been in in Des Moines, Iowa. So at this point, I am 31 years old, and I think I have my street instincts pretty well intact. I put the golf cart in reverse, and I drove us the hell out of there.”

With an eclectic mix of big-name talent this year’s festival will probably have its largest attendance yet.  I will be there with as much optimism as I can possibly muster and hopefully I’ll make it out without repeating the lyric that Kurt Cobain once sang: “Take a look at where you are, it’s pretty scary!”. 

The complete initial list of 2009 10,000 Lakes Festival performers can be found here.