April 15, 2012

Concert Review: Thievery Corporation


Thievery Corporation's newest album, Culture of Fear

By Tom Roth

Thievery Corporation
House of Blues
September 7, 2011

When DC-based Thievery Corporation performs, the resulting experience is something more akin to a visit to the UN than a typical concert.

Such it was for two nights in San Diego’s Land of Lights and Smells known as the Gaslamp District when Thievery Corporation brought their platoon of troubadours to the House of Blues.

For those unacquainted with “The Corporation” as they referred to themselves onstage, the group consists of founding fathers Rob Garza and Eric Hilton, whose 1995 union created a nucleus around which a dizzying roster of accompanists orbits. During their most recent show in San Diego, no fewer than one dozen performers assisted in bringing trip-hop music to the stage.

Playing tracks off their latest release, Culture of Fear, Thievery Corporation swung the crowd from plodding to pounding, the most energetic being the socially-conscious condemnation of the IMF, “Vampires.” Despite the harsh lyrical indictment, the crowd bobbed and waved happily in keeping with the general mood of the show.

When there’s as much diversity onstage, it’s hard to act otherwise. As easily as Rob Myers moved seamlessly from guitar to sitar, guest vocalists trotted on and off stage dressed in everything from traditional African garb to hotel doorman costumes. While steel drum rhythms competed with trumpet blasts, the harmonious groove massed and rose off the stage, past the Star of David, moon and crescent, and crucifix. Before the sounds evaporated into the night, a painted inscription passed above the performers: Unity in Diversity.

Diversely united, indeed.

Concert Review: Maroon 5

Lead singer Adam Levine pumped up the crowd at Maroon 5's show in Dubai on April 21. Photo by Tara Safaie

By Tom Roth

“What a diva”

Clutching her Nikon, Tara shook her head. “He was pulling that crap the entire time I was shooting.”

I’d brought Tara with me to cover the Maroon 5 concert at Dubai’s World Trade Center on April 21. We had taken turns photographing the opening act, Juliana Down and headliner, Maroon 5 and were settling in for the latter’s set. Simultaneously amused by and skeptical of Levine’s boundless vanity, we positioned ourselves in full view of the stage so as not to miss any of the showboating that was going on.

Levine and the boys had started things off with a grand entrance. As the crowd milled about waiting for the show to begin, the lights in the cavernous hall switched off. From stage-left entered five figures. As they slung guitar straps around their necks and twiddled with drumsticks, the fans craned their necks looking for noticeably absent frontman, Levine. Fashionably late, he strutted out onto the stage, arms extended and hands outstretched, basking in the applause that erupted as he made his entrance.

Then, it was time to get down to business. Levine started things off with a bass-heavy rendition of “Misery”, chanting “why don’t you answer me?” between oohs and aahs from both the stage and the crowd. While the acoustics made discerning any message difficult, Levine’s enthusiastic parading held the crowd’s attention.

Within minutes, the band had teased their way into “Harder to Breathe” followed by the title track off of their latest album, Hands All Over. In a moment of personality, Levine broke off the succession of songs and alerted the crowd to the presence of a young, blonde girl near the front of the crowd. Noting her tears, he explained that it was moments like this that make performing special and it’s not just “going out there and going through the motions”. As the cheers crescendoed, the band started in on their latest single, “Never Gonna Leave This Bed.”

The boys gave an Al Green tribute with their rendition of “Let’s Stay Together” and then promptly livened the arena with a group-sing version of their smash hit “She Will Be Loved”. Levine valiantly attempted to coordinate one side of the crowd to sing the first half of the refrain and the other side to sing the second half, which ultimately failed. This proved once again the cardinal rule of crowd direction: keep it simple, stupid.

The evening wound down with “This Love” which was quickly encored by “Won’t Go Home Without You,” “Really Makes Me Wonder” and “Sunday Morning,” at the end of which Levine invited his humble band to join him at the front of the stage for a final bow. Ensuring they had all left the stage, Levine made a point to be the last one off. And how appropriate! For all the love songs Maroon 5 have penned, it’s not hard to imagine Levine as the group’s beating heart. Like it or not, his peacocking completes not only their concerts, but the group as a whole.

 

SETLIST

  1. Misery
  2. If I Never See Your Face Again
  3. Harder to Breathe
  4. Hands All Over
  5. The Sun
  6. Never Gonna Leave This Bed
  7. Secret
  8. Let’s Stay Together
  9. She Will Be Loved
  10. Wake Up Call
  11. Stutter
  12. This Love

ENCORE

  1. Won’t Go Home Without You
  2. Makes Me Wonder
  3. Sunday Morning

 

Thursday Bring “Full Collapse” to SOMA

"Thursday delivered a perfect performance of a timeless album."

 

Being a fan of Thursday since high school, I was very excited to listen to them perform Full Collapse in it’s entirety, but I was also worried that all these years later the album would not hold up to the glory it had maintained in my mind over the years since I first listened to it. So in the weeks prior to the concert, I began listening to the album again so that I would know whether or not it was still as epic as I once thought it was. Tentatively, I found the album on my iPod and hit the play button, and proceeded to be blown away by how well this album holds up after ten years. I would venture as far to say that it could still easily compete with anything that’s coming out of the scene today. This is one of few albums from our generation that is truly timeless, and I became unbearably excited to hear these songs performed live, and to talk to the band about how far they’ve come since Full Collapse.

Before watching the guys take the stage and perform Full Collapse, I had to opportunity to sit down with their vocalist, Geoff, and drummer, Tucker, and discuss the tour, their new record, and their past 10 years together.

First of all, when did the idea come up to do a 10th anniversary tour for Full Collapse?

Geoff: I guess about a year… a little more than a year ago we had the idea to play a few of our records front to back, and basically it was a lot of fun. Then we realized the 10th anniversary of Full Collapse was coming up and we thought it would be a great idea to mark the occasion and go out on tour. We love touring, so it was just a great reason for us to go out there and tour. The first few nights we definitely felt like a cover band of ourselves, playing these songs again, but now all the pieces have fallen back into place and I remember how great it was to tour on that record.

What was it like, dusting those songs off and going back to them? Did you make any adjustments to the songs?

Tucker: I’m pretty sure they’re almost completely as-is. We never even actually dusted them off because we only had like, a practice or two [before the tour]. There were a lot of blizzards and stuff around the time we were leaving, so our practicing pretty much got thrown out the window.

So just kind of picking it back up as you go along?

Tucker: Yeah, but we picked it up FAST.

Geoff: It was like, fingers crossed for the first show, but it’s been going great.

And how has the crowd response been, do you see them still remembering all the songs?

Tucker: It’s funny man, you look in the crowd and theres young people, and then there’s people like, our age, which is a spectrum that we don’t usually get at a show, all singing along.

With this being the 10th anniversary, have you done any reminiscing, looking back on the past decade?

Tucker: I guess the biggest thing is just seeing faces from back then… These friends of ours that don’t really go out to shows anymore and are coming out, that’s kind of like, heartwarming, you know, to see that. And every face, every venue, it brings you back to a certain time. I wouldn’t say that we’re remembering any crazy memories from back then. But sometimes it will be little things like, oh remember when we were touring here back then and we were so broke Tom actually got diagnosed with malnutrition… Just stuff like that, little things. Like the other day we were talking about when we were in Dallas with the Murder City Devils and a complete fistfight broke out on stage…

Geoff: And shortly thereafter, some girl tries to come up and burn me with a cigarette. So yeah, bringing back some good memories… (laughs)

How do you feel you guys have progressed musically and artistically since then?

Tucker: It’s really hard to say how, but like, every now and then when we’re playing at night, there’s a part and it’s like… we would never write this now.

Geoff: We were kids, you know, kids that just wanted to hang out together and play music. We never thought we would write a complete record and go on tour or anything like that.

Tucker: So yeah, the approach now is so different it’s hard to even say how… You know, now we’re people writing music that have been in a band together for 13 years. Like back then, it was like, “Oh wouldn’t it be cool to write something like this? Imagine what that would sound like!” Now we know what it’s gonna sound like.

Geoff: And ”Let’s hurry up and start a band because Hot Water’s coming through town and we might get to open for them.”

That brings me to the next thing I was going to ask… Back then did you guys have any idea you would even still be together 10 years down the road?

Geoff: No, we had no idea.

Tucker: It’s like every day, when we wake up, whether it be in a van, in a bus, in a hotel or anything, it’s like “Holy s—, Geoff, we’re still doing this man.” Every day is like a blessing, to still be doing this and having fun, and have people still coming out…

Geoff: And I think back then it was like us all banding together, trying to make these songs, and now it’s sort of the opposite. Like, well you know we still wanna hang out, we still wanna be each other’s buddies… “So do you think it’s time do do a record now? Okay, this is gonna be fun, spend some time together, do a record.”

Tucker: It’s almost the same, actually, because there was no pressure back then and there’s no pressure now. You know, in the middle there was kind of a little bit of pressure, but now its just… let’s make a record, it’s fun.

In another interview you mention how you realized that the average band isn’t full of money like you thought when you were younger. Any other misconceptions from back then?

Tucker: Not really, I think that was the main one. I remember when like, “Understanding In A Car Crash” was playing on MTV and people automatically thought like, “Oh, they’re making bank” and this and that, but that never really actually comes to fruition. That’s the biggest one is just the finance thing… It’s a hard life, like everyone thinks we’re so lucky to tour the country and yeah, true, but we leave everything at home, everything we have, and all we do is take each other out here.

Geoff: And that’s another thing, like people think it’s so exciting to see the world, but… (gestures out the window to parking lot) This is what I think San Diego looks like. This parking lot. We’re not gonna go anywhere today, we’re not gonna go to the beach or any of the cool parts of San Diego. We’re gonna see this. This doesn’t look any different than Ohio to me, or New Orleans, like they all look the same. Every behind-a-club looks like this.

That’s something I’ve heard in other interviews and stuff, and it blows my mind. You don’t really even get to enjoy the places you go?

Geoff: Well we do get some days off that are pretty bangin, and every so often you get to play the venue that is downtown, that’s exactly where you want to be, and you’re kind of like, “Oh we don’t need to sound check today, nah, we can just go out and walk around!”

What are some of your favorite bands you’ve toured with over the years?

Geoff: We did a tour with The Cure, and that was amazing. That was probably my favorite, at least top three.

Tucker: Yeah, that and playing with Hot Water Music, that was like a real dream come true for us.

Geoff: We toured with the Deftones, that was fun… Done some touring with Muse, The Flaming Lips… some really good bands.

On the other side of that question, are there any bands you still want to tour with?

Tucker: I think touring with the Foo Fighters would be sick. They’re as punk as you can get for being a huge band.

Moving on to the new record, I saw an early 2011 release scheduled, is that still on track?

Geoff: Yup, right now it’s looking like probably April.

Is there anything else you can say about the record right now?

Geoff: There’s not really a whole lot to say right at this point, but I think definitely the recording turned out great, in my opinion it’s the best the drums have sounded on any of our records. I think I’m singing better than I ever have. There’s a real beauty with the record, which I think we’ve always tried to balance out with the chaos and heaviness, and this time I think we really kinda let the beauty shine through.

And that record will be released on Epitaph… how is it being on Epitaph in comparison to when you were on Victory for Full Collapse?

Geoff: Being on Epitaph in comparison to anything is awesome. They’re just great. We really get along with them, they really try to help us see through our vision and our dream, and they also really love our band which is just such a weird thing for us. Like we’ve been on a major, we’ve been on Victory, and it’s always been like “Oh yeah and Thursday, we have to deal with them.” Not Epitaph, they’re like “Yeah, Thursday, this concert’s gonna be amazing!”

Fast forward now to the moment Thursday take the stage, and I am filled with an anticipation I have never felt before. As the opening lyrics of “Understanding In A Car Crash” begin, what would turn out to be an unbelievably amazing concert had just begun. There was something profoundly powerful about hearing hundreds of people, who have loved this band for ten years, screaming their hearts out along with Geoff, as he masterfully worked the stage, playing to the crowd and nailing every note.

Full Collapse is an album that deserved to be heard from beginning to end, because it is an album that is truly great all the way through. After ten years, Thursday brought all their experience to the stage and powered through song after song, letting all the beauty of the songs shine through. It was an experience I am eternally grateful to have had, and one that I will never forget. This was a performance put on by a group of friends that are still having fun, ten years later, and absolutely loving every minute of it.

Violinist David Garrett Balboa Theatre Show Review

German-American violinist David Garrett played an impressive show at downtown San Diego's Balboa Theatre.

I first heard of German-American violinist David Garrett a few years ago, after he made worldwide headlines for falling down a concrete flight of stairs after a holiday concert in London. Thankfully he was uninjured, minus a few scrapes and bruises. His violin, however, was not. He landed on his violin case and when he opened it, his Guadagnini, crafted in 1772, lie in pieces. He pronounced it “a mess.”

The prescription? Eight months in the repair shop, but Garrett needed his violin back sooner than that. He had another concert date in London, on Valentine’s Day. In a too-good-to-be-true twist of fate, Garrett received a Stradivarius to play days before the show, flown in special from Milan. He has played a 1710 Stradivarius ever since.

It was a stunning story, full of intrigue. I found Garrett’s discography online and was surprised to discover that everything was an import; there were no U.S. releases. At the time it didn’t occur to me to shop amazon.de instead of amazon.com.

But there was information on Garrett, much of it in the European press. David Garrett, born in Aachen, Germany to a German father and an American mother, picked up the violin at age four. Initially the instrument was brought home for his older brother, but the youngster took to it and within the year he was playing in public.

When he turned eight, he was prepping for shows booked with the London Symphony Orchestra and the Los Angeles Philharmonic, and at 13 he was signed to the premiere classical label Deutsche Grammophon as a soloist. By his late teens he’d already amassed a staggering resume of recordings, performances and tours. He moved to New York City and, to top it all off, secured a once-in-a-lifetime opportunity to become the first student under the tutelage of Itzhak Perlman at the Juilliard School, from which he graduated in 2003.

Further intrigue ensued. How could such an astounding talent, who’d already conquered audiences across Europe and played in India and the Far East, be so unknown in the U.S., the country he’d called home for nearly a decade? Where were the American music critics? Under a clear night sky outside the beautifully restored Balboa Theatre in downtown San Diego on the last day of February, I wondered how many other concertgoers wondered the same.

His band of four (drums, bass, guitar and keyboard) made its way on stage as the lights dimmed, but Garrett was nowhere to be seen. Then the first notes of Carmen Fantasie wafted down the aisle, followed by Garrett strolling minstrel-like, somehow managing to play, walk and smile all at once, his violin plugged into a wireless microphone to amplify its sound.

When he hit the stage his band joined him in a spicy, Spanish flamenco-styled rendition that quickly heated up the theater’s Spanish Revival-styled interior. What followed was two hours of such rich and exquisite vigor by Garrett and his bandmates that it was a wonder as to how they could possibly maintain this intensity within the span of one performance, much less a 22-city North American tour – Garrett’s first.

Dressed in a black shirt and jacket and shiny gray pants, his dark-blond hair tied back in its usual ponytail, Garrett sports a five o’clock shadow and tattoos. He doesn’t so much look like a classically trained violinist as he does a grunge rocker á la Kurt Cobain, to whom he bears a slight and eerie resemblance. So it wasn’t too surprising to learn of his love for hard rock and heavy metal music.

What was surprising was his uncanny ability to bring those genres and others into the classical realm (or is it the other way around?). By translating metal, rock, blues and R&B to violin, Garrett seamlessly brings classical music to non-classical ears and Metallica to classical aficionados, bridging and melding the two communities into one and thus devising a musical language devoid of genre and categorization.

By doing so, Garrett establishes his own unique voice and individual place among a small cadre of violinists and other orchestral-minded musicians, whom themselves have forayed into popular, contemporary formats like indie rock and hip-hop; folks such as Owen Pallett, Julie Penner, Petra Haden, Lisa Germano, Emily Wells, Andrew Bird and Sufjan Stevens.

Reminiscing over his first rock album purchase (Queen’s A Night at the Opera), Garrett   then launched into a slow boil of “Who Wants to Live Forever.” He continued to up the ante with unlikely covers of AC/DC’s “Thunderstruck,” Metallica’s “Nothing Else Matters,” Led Zeppelin’s “Kashmir” and a particular crowd favorite, Michael Jackson’s “Smooth Criminal,” all of which sounded wholly original without diminishing the spirit and integrity of the songs and the artists who originated them.

It would be too easy to expect the violin to sound shrill, if not shrieking, on many of these head bangers, and maybe this seems all the more so because it’s all violin–Garrett doesn’t sing a word–but it’s his virtuosity and deftness which create these beautifully pure and commanding tones in a new context. If the violin is said to be the instrument that most closely resembles the human voice, in Garrett’s hands it’s so close to the electric guitar it’s almost freakish. Dumbfounded and shaking my head in disbelief throughout the night, I’d never thought in a million years a violin could ever sound like this.

Garrett’s not merely a metal head, though. He explained his love of all music genres and how they have informed his prodigious classical upbringing. His set verged into blues with Bill Wither’s “Ain’t No Sunshine,” psychedelic rock via Jimi Hendrix’s “Little Wing,” “Dueling Banjos” bluegrass from the Deliverance soundtrack and the American musical songbook á la Leonard Bernstein’s “Somewhere” from West Side Story. The real showstopper, however, was Chopin’s “Souvenir de Paganini,” a variation on Paganini’s “The Carnival of Venice.” It begins rather benignly but quickly turns complicated, each measure more technically demanding than the last, and it’s not a lengthy composition to begin with. Garrett pulls it off, making it look easy, but it’s clearly not, and he freely admits it. The piece is as breathtaking as Garrett’s candor.

Sprinkled about were arrangements of his own, including a wicked version of Rimsky-Korsakov’s “Flight of the Bumblebee” (for which Garrett is listed in the Guinness Book of World Records, having performed it in 66 seconds), as well as compositions he penned himself, such as the bittersweet melancholia of “Chelsea Girl.” This “Chelsea Girl” has nothing to do with Nico or Andy Warhol, however; it’s a somber ode to an ex-girlfriend, prompting Garrett to jokingly ask his band mates, “And why are we still playing this?”

Garrett is not only a very gifted performer, but a genuine and heartfelt storyteller too, prefacing each song with some history, a few anecdotes and his easy-going sense of humor. Considering his life’s trajectory, it’s a testament to his upbringing and the people with whom he’s chosen to surround himself that gives him such an extraordinarily down-to-earth, levelheaded, amicable presence. It’s something audiences love him all the more for.

Looking out into the audience, many faces beamed as if the spotlights were in reverse, and maybe they were. David Garrett was on stage, shining, a star already having been discovered in other skies, now appearing to American audiences gazing heavenward. We only need keep our telescopes poised to capture his ever-brightening future.

David Garrett performed at the Balboa Theatre in downtown San Diego on February 28th. His U.S. debut is the self-titled album David Garrett. Last spring, Garrett received wide exposure to American audiences during a national fund drive for PBS. His albums are available on Amazon.com, Amazon.de and on iTunes. He has also released two live concert DVDs.

David Garrett’s website

David Garrett’s MySpace

Smooth Criminal

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David Garrett - David Garrett

“Why Coachella Ought to be Deemed a Religious Experience” by Liz Crosby

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Throughout Coachella 2009, I kept seeing subtle things (and not so subtle things) alluding to the power of music.  Eventually, it became overwhelming how many beautiful moments were amassing in my short term memory.  I decided that I had to record them using the median with which I am most capable manipulating, the English language.  Some things witnessed were altogether reminiscent of religion, in particular Christianity.

1.  The checkpoint that all fans had to pass through before entering reminded me of dipping one’s hand in the bowl of water to bless one’s self before entering into a church.  Just as that is meant to be a spiritual cleansing before entry into the church; we also had to be cleansed of weed, alcohol, and whatever else we might attempt to bring into the stage area.  They weren’t very good at checking.

2.  The majority of people – or at least the die hard fans – walked from concert to concert barefoot for the most part.  It is common for religious devotees to take off their shoes before entering a religious place.  For instance, Moses took off his shoes before approaching the burning bush.  It is also customary to take one’s shoes off before entering a Hindu temple.

3.  During the Paul McCartney concert, a woman was holding up a towel with John Lennon’s face on it.  Paul pointed to it, and the cameramen quickly captured the image for all to see.  Need I say what this is reminiscent of?  In case you’re a little hazy on your “Stations of the Cross,” I’m referring to the station in which the woman wipes Jesus’ face with a towel only to come away with an image of his face on her towel.  I suppose John Lennon was onto something when he said that he was bigger than Jesus.

4.  At People Under The Stairs, fans were so fervently waving their hands in the air with the beat of the song that it reminded me of a Southern Baptist Church times 100 maybe.

5.  People were getting immensely dehydrated at the Lykke Li concert, so she took a water bottle and sprayed people with it.  It looked like she was blessing her fans with water just as a priest may do occasionally as he descends the aisle.

6.  At the end of the Girl Talk concert, a blow up raft for a pool emerged from somewhere and the DJ was on top of it.  He stood atop of it as all of the fans supported it with their reaching arms.  He was legitimately crowd surfing.  I felt like a water molecule in a stream or something, and he was walking on us.  The connotation is abundantly clear now, I’m sure.  He was walking on water like Jesus.

7. Speaking of Jesus’ miracles, many of my friends possessed the power to change water, not into wine, but into vodka.  We carried it around with us wherever we went in our water bottles.

8. Just as mass has its Eucharist, which consists of the body of Christ and the blood of Christ, so too did any given concert have it’s own distorted version of a Eucharist.  Except, instead of consuming a crappy wafer and some cheap wine, we consumed weed, vodka, e, etc.

Perhaps this experience that is Coachella seems so similar to Christianity because it is essentially living life to its fullest extent.  It’s the same concept as religion as it originated.  A bunch of people amassing around someone with a message is what it’s all about.  Each one of those artists has a message to tell humanity and a parish to sing it to who will inevitably sing it back just as a parish community might sing hymns.  In a way, each artist is emitting out into the universe a philosophy regarding how to live life.  Which philosophy do you adhere to?