Josh Ritter in Philadelphia and Boston, Feb. 10 and 11

Josh Ritter and the Royal City Band, opening night in Philly

  What should one expect from a Valentine's Day Brawl? Love, roses,  a nice slow-dance sax solo, and of course some heartache because this ain't no Hallmark celebration. This was Josh Ritter's tell-it-like-it-is idea of Valentine's Day, and it was quite a party.
  I was lucky enough to catch the first two of four of these events -- in Philly and Boston. Josh not only brought his crack band but also a three-piece horn section, and set the mood with roses draped on all the mikes.

Josh and Zack rockin' the Troc

  The Trocadero in Philadelphia, known locally as just the Troc, is nice old theater with a lot of history and some beautiful architecture, including swooping balconies and detailed columns. It made for an interesting contrast to the sort of cookie-cutter House of Blues in Boston the next night. Both venues had their advantages, the Troc's was the intimacy of its building. The House of Blues is a bigger venue (2,400 patrons to the Troc's 1,200) with impeccable sound so the HOB show really felt like a rock SHOW. At both places the crowd was right there for Josh as he led them through love's travails.
  The set lists for the two nights were similar though not the same (see below), and there was plenty of individuality to make them special. For one, Josh, at two points in each show, read out valentine dedications sent in by fans who were going to those shows. The dedications were hilarious, ranging from sweet to bawdy. One person in Boston even proposed through a dedication (and was accepted!).
Since the shows followed similar set lists, I'll go through the shows together, pointing out the highlights and differences as I go.
  Both shows opened with Josh bounding on stage -- dressed nattily in a vest over a red shirt with a rose in his lapel and even red socks! -- for one of his ultimate love songs (how many of these does he have?), "Bright Smile." It's amazing how he grabs the audience's attention right away... they see him out there alone and they immediately quiet down to hear him. At the Troc, the crowd sang along unobtrusively (mostly, more on this later) to every song. Josh's voice rang out but underneath you could hear the audience basking in the love of his lyrics.
  The band took the stage to roars from the crowds for the next tune. In Philly it was "Long Shadows" followed by "Lillian," in Boston the order was swapped, and seemed to fit better. "Lillian," played with rockin' delight by Josh's great band is a treat. At HOB, it just roared, a great piano solo by Sam Kassirer, and guitarist Austin Nevins was just on fire all night.
  "Southern Pacific" and "The Curse" were next. Beautiful renditions -- Josh waltzing by himself to the beautiful piano and bass lines of "The Curse." This led into the first set of dedications back by the still waltzing music of band. At the Troc, the last one read "Roses are red, violets are blue, hopefully not my balls"... something like that. The crowd was in hysterics.
  "Empty Hearts" followed, and then the highlight of both nights: the three-song killer of "Real Long Distance," "Rattling Locks" and "Harrisburg." A three-member horn section (trumpet and two saxes) torched these songs, rocking both venues to their core. This is where the HOB shined. Despite the volume and the number of players on stage, you could hear every instrument, crystal-clear. On "Rattling Locks," bassist Zack Hickman led the charge of musicians, including the horn players, cracking drumsticks together in percussive bliss. If Josh is the emotional leader of the band, Zack is the physical leader, making sure the show runs smoothly, and an incredibly talented musician. "Harrisburg," one of my all-time favorite tunes, including a very funny Josh story-song interlude that led in and out of the Talking Heads' "Once in a Lifetime."
  The band then brought the crowd down with a beautiful "Folk Bloodbath" before leaving the stage for Josh to work his magic again.
  At both shows, Josh opened the solo portion of the sets with "You Don't Make It Easy, Babe." In Philly, he dedicated the song to Sarah Palin, Queen of Alaska. He followed this with an acoustic "Thin Blue Flame," which he didn't play in Boston. The crowd was hushed as Josh worked his lyrical magic. The two shows continued with "Temptation of Adam" and a "Naked as a Window/Girl in the War" pairing that was amazing. In Boston, he poignantly dedicated "Girl in the War" to the people of Egypt. These songs, to me, really showed the difference in the intimacy of the crowds. In Philly, fans sang along with every word. In fact, they sang beautifully on "Girl in the War" except for one dude who kept shouting the lyrics before they were sung. It was funny at first, annoying by the end and then he was shut down. In Boston, the crowd really came to party. They were polite and sang along with the quiet songs, but lived for the rock.
  The band returned to the stage, but not to their instruments for the next song, a lush cover of Velvet Underground's "Pale Blue Eyes." Sam, Zack, Austin and drummer Liam Hurley stepped up to a side mike to sing harmonies on the chorus. They returned to their instruments for the next set of dedications, backing them with Cyndi Lauper's "Time After Time." In Boston, this is where the proposal was made. It was pretty cool.

Matt Douglas' slow-dance sax solo on "Kathleen"

  Then it was back to rock. "Rumors" and "Right Moves" were blistering. The band was in high gear. The horns reappeared and took these songs to a new level. In Boston, the horn players were totally in to it, dancing and goofing in time to the music.
  And then there was "Kathleen," ever the crowd-pleaser. This time it was intro'd by the band, slow and quiet, as Josh worked the crowd into a lather. First, regaling the crowd with tales of love -- from a pigeon's standpoint. A male pigeon flies down, puffs himself for the females, who basically ignore them. He then warned the crowd there would be slow dance mid-song and promised it wouldn't be too awkward. Boom. Liam hits the kit and away the band sails into "Kathleen" full-on... and then mid-song the band quiets and Matt Douglas on baritone sax, steps to the front and delivers a jazzy slow-dance solo.
  You think you've come to the end of the night. There were peaks and breaks and peaks again. But the band played on. "Lantern," "Change of Time," and "To the Dogs" in different order (this is Boston's, and seemed to work best.) On "Lantern," folks swayed glowsticks to the beat. "To the Dogs" simply rocked, the crowd trying to keep up with the breakneck-speed lyrics.
  With that the band left the stage, but of course would be back.
In Boston, Josh unveiled a new song, "Galahad" (there's an animated video of the song HERE). He didn't play it in Philly (I think he ran out of time). Scott Hutchison of the band Frightened Rabbit, who was a great opener (need to hear more!), came out to perform an Everly Brothers cover "Stories We Could Tell," with Josh. Hutchison left, the band came back and ripped through "Snow Is Gone," a wishful, final valentine to their fans.  More than two hours of music finally over, the crowd left jubilantly into the chilly night.

Check out my pics HERE

"Temptation of Adam" at The Troc

"Pale Blue Eyes" at the House of Blues"

Setlists for the two shows
The Trocadero, Philadelphia, Feb. 10

Bright Smile (solo)

Long Shadows (band joins in)

Lillian

Southern Pacific

The Curse

(Valentine dedications)

Empty Hearts

Real Long Distance

Rattling Locks -->

Harrisburg (with Talking Heads' Once in A Lifetime interlude)

Folk Bloodbath

You Don't Make It Easy Babe (solo)

Thin Blue Flame (solo)

Temptation of Adam (solo)

Naked as a Window (solo) -->

Girl in the War (solo)

Pale Blue Eyes (Velvet Underground cover; band joins in)

(more valentine dedications)

Rumors

Right Moves

Kathleen

To the Dogs

Lantern

Change of Time

--

Stories We Could Tell (Everly Brothers cover w/Scott Hutchison)

Snow Is Gone (full band)

House of Blues, Boston, Feb. 11

Bright Smile (solo)

Lillian (full band)

Long Shadows

Southern Pacific

The Curse 

(Valentines dedications)

Empty Hearts

Real Long Distance

Rattling Locks -->

Harrisburg (with Talking Heads' Once in A Lifetime interlude)

Folk Bloodbath

You Don't Make It Easy Babe (solo)

Temptation of Adam (solo)

Naked as a Window (solo) -->

Girl in the War

Pale Blue Eyes (Velvet Underground cover; full band joins in)

(Valentines dedications)
Rumors

Right Moves

Kathleen

Lantern

Change of Time

To the Dogs 

--

Galahad (new song; solo)

Stories We Could Tell (Everly Brothers cover w/Scott Hutchison)

Snow Is Gone (full band)

The Decemberists at the House of Blues, Boston, Jan. 28, 2011

  "Apparently, we ruined indie," declared the Decemberists enigmatic lead singer Colin Meloy, in the middle of a small run of new songs off their new latest album, "The King Is Dead" early in the show. Meloy was referring to a recent, hilarious article in the Boston Phoenix blaming Meloy and his merry band of misfits for ruining "music doesn't mean anything" indie rock with their influential and wildly popular brand of  "trying too hard" prog-folk. The article goes on to accuse the Decemberists of spawning bands like Fleet Foxes, the National and Blitzen Trapper. (Read the Phoenix article HERE.)
  Whether you think the article is funny or just stupid, may depend on your sense of humor and your love for the band's "British"-sounding tales of long ago and its dramatic flair. In fact, the new album drops much of that for a more stripped-sound and alt-country feel of harmonicas, 12-string guitars and beautiful harmonies.
  Which brings us to Saturday night's show at the House of Blues, where Meloy led the small band version of the group through a too-short (72 minutes, to be exact), but fun-filled night of music that spanned their 10-year career. (Ed. note: I learned after the fact that Meloy reportedly had the stomach flu, causing the show to be cut short.)
   After opening with "July, July," from one of their earliest albums, the group romped through  three new tunes off the new album, beginning with the single "Down By the Water," "Rox in the Box" and "Rise to Me." It was amazing how well this new sound fit the band live. Sara Watkins, who became a star with the band Nickel Creek," is a powerhouse and a good sport (more about this later) and provided the Gillian-Welch-sung backup vocals on "King Is Dead" songs as well as some great violin solos.
   Not to be locked in on the new album, the Decemberists then launched into two of their great story-songs, "The Engine Driver" and "The Soldiering Life."
  After another new tune, "All Arise!," much of the band traded their instruments for drums and rocked the house on the highlight of the night, "The Rake's Song" from "Hazards of Love." The huge percussion sound rung out through the venue.  This was followed by more fun tunes, "Valencia" and "The Chimbley Sweep," which got the crowd singing along "For I am a poor and a wretched boy!" Watkins was goaded by Meloy into multiple violin solos, and of course, the high-end woman's voice mid-song.
  Then they left the stage waving... It seemed like a little too soon. Maybe they'd be back for a bunch of encores?
  They did come back, for two songs: A fun "A Cautionary Tale" (see video below) had three members of the band (including the poor Watkins) parading into the crowd to perform a "tableaux of the wonders of the world." It was very goofy; and "June Hymn," an ode to summer during a nonstop horrendous New England winter.
  Then the lights came on and the show was over. A fun night that should have gone on a little longer.
To view my pics from the show, click HERE.

Setlist:
July, July!
Down By the Water
Rox in the Box
Rise to Me
Won't Want For Love (Margaret in the Taiga)
The Engine Driver
The Soldiering Life
All Arise!
This Is Why We Fight
The Rake's Song
O Valencia!
The Chimbley Sweep
----
A Cautionary Song
June Hymn

A Cautionary Song from the show (not my video):

Grace Potter at the House of Blues, Boston

                                                        Photo by Mallory Finley

This was a band supposedly jet-lagged.
Six months after  Grace Potter and the Nocturnals last played the House of Blues, the band returned to the venue just off a tour overseas and ripped through a two-hour set filled with soaring vocals and guitar-heavy highs. Despite comments about her jet lag, Grace sang and danced up a storm – moving easily from the center stage mike, with guitar or without, to her Hammond B3 – never missing a step, a lyric, a breath. She's Tina Turner for a new generation.
And she's finally backed by a band that can keep up with her. In the six months since I saw them last, the new Nocturnals – guitarists Scott Tournet and Benny Yurco, bassist Catherine Popper and drummer Matt Burr – have melded into a cohesive, dynamic group, adding power and finesse to new songs off the upcoming self-titled album as well as the fan favorites.
The group has transformed itself. The once neo-hippie jam band has grown up, dressed up and given itself a harder-rocking sheen. They can still jam, and do it well, but there is a little more pop attitude thrown into the mix. In my review of the band from November (HERE), I foresaw them as a female-led version of the Allman Brothers. I would now like to amend that. I think they are leaning more toward an early-'70s version of Heart. Nothing wrong with that.
Grace and Catherine Popper arrived on stage in swishy mini-dresses and heels (though for both the shoes came off somewhere around midpoint), the boys in suitcoats. They blasted through an early set of new and old songs, including band classic "Ah, Mary" and the new, reggae-ish "Goodbye Kiss." The band showed its ability to mix song styles, as it moved from more new tunes, the jammy "Oasis" and the poppy "One Short Night," to the blues of "2:22."
Grace was completely into it. Dancing wildly, arms over her head, jumping up and down in place. The main set's end was something to behold as the band tore through two more new songs, "Hot Summer Night" and "Paris," with confidence and authority. "Paris" featured some screaming guitar from Scott Tournet. And "Nothing But the Water" went from Grace singing alone to rip-roaring band accompaniment back to just Grace. She knows how to work an audience.
The encores were great as well. Jefferson Airplane's "White Rabbit" seemed to be meant for them to cover. It was followed by another fan favorite, "Stop the Bus,'' and a super new tune, "Medicine," which is sure to be a showstopper for a long time.
This is a band on its way up. How far and which direction are the only questions.
The show if available for download HERE
View Mallory Finley's pics from the show HERE



Setlist (from This Is Somewhere blog)
Only Love
Sweet Hands
Goodbye Kiss
Ah, Mary
Mastermind
Oasis
Money
One Short Night
2:22
Apologies
Tiny Light
Big White Gate
Falling or Flying
Here's to the Meantime
Hot Summer Night
Paris
Nothing But the Water I & II
------
White Rabbit
Stop the Bus
Medicine

Grace Potter, with Brett Dennen, at the House of Blues

Many times in the past two years I have thought -- even planned -- to see Grace Potter in concert. Each time there was a reason it didn't happen. But last Thursday, it finally did, at the House of Blues and it was everything I expected. The word was that if you hadn't heard Grace live, you really hadn't heard her, and this is true. The albums do not do her justice. There is an electricity to her, and it runs right through her body from her fluttering fingertips, to her hair-waving head, right down to her high-heeled shoed feet. Whether she's fronting the band playing slide on her flying V or from her perch at her Hammond organ, Grace Potter is in full throttle. I always like to ask myself, "what does this band want to be"? For Grace and the Nocturnals, I think they'd like to be the female Allman Brothers. And they've got a pretty great start. They've added a second guitarist, Benny Yurco, and have a new female bass player, Catherine Popper, a strong voice to the mix which includes longtime Nocturnals lead guitarist Scott Tournet and drummer Matt Burr. They look like they are having a blast up there, smiling away while blasting through "Ah, Mary," showing off their new dueling lead guitars on one of their new songs, and meeting together on the center stage floor for a kneeling group guitar jam during "Stop the Bus." They have always fit comfortably amid the jam band scene, but they are able stand out a bit from the pack, because of Grace. Not only is she a woman (and a great-looking woman!) amid the sea of guys, but her songwriting is also stronger than most in the jammy genre. She debuted six new songs, including one called "Tiny Light," which starts slowly and builds to a rocking crescendo filled with guitar feedback. She wound up nearly two hours onstage with an encore of the Jefferson Airplane's "White Rabbit," which fit her band perfectly. She closed the show with her a cappella-to-full blown rocker "Nothing But the Water."
A couple of other notes: I wasn't sure what the crowd would be like for the show. I was initially worried that the place would seem empty. But I was pleasantly surprised. I estimate the crowd at a couple thousand, filling about three-quarters of the place. Brett Dennen was a pleasant surprise and weird sort of cat. And he's got quite a fan base. When he was onstage, the front of the house was packed. It seemed to be less crowded when Grace came on... like all Brett's fans either left or moved back to the bars. That was fine. It left more room for Grace's fans -- which included a large majority of college girls (unusual for a jam band) -- to dance.
One more note about Brett Dennen. He's an odd mix of performer, not really sure where to place him. He's got a unique-sounding voice, a huge mop of hair, and has the stage presence -- dancing and moving his hips that puts him somewhere between Neil Diamond and David Bowie.
All in all, a really fun show.
Check out some great photos from the show (not mine, which were shit), HERE and HERE
Also, a video (not mine, either) from the show of new song "Only Love")



The setlist (from the blog This Is Somewhere)
Medicine
Joey
Mastermind
Apologies
Oasis
Stop the Bus (not on setlist, played after mention of bus fire incident)
Goodbye Kiss
Ah, Mary
Big White Gate
Things I Never Needed
Low Road
Only Love
If I Was From Paris
Tiny Light
Sweet Hands
——————-
Watching You
White Rabbit
Nothing But The Water I
Nothing But The Water II

Regina Spektor at the House of Blues

Forgot to post this review when I wrote it... Here it is...


Regina Spektor
At the House of Blues, Sept. 22

Standing in line before the show, you would not have guessed you were at a concert with fervent Regina Spektor fans. The mostly 20-something college crowd was content conversing, texting, even doing their homework. But once they were inside the House of Blues entrance, and had enjoyed the decent opening act Little Joy and what seemed like an interminable equipment setup, the crowd got what they came for.
From the moment Regina strode on stage, love was in the air.
As she sat down to her piano for the first tune, “The Calculation,” off her new album “Far,” whooping and hollering and multiple calls of “I love you” filled the hall. Regina genuinely smiled, and almost embarrassingly responded “I love you, too.”
Sitting behind a grand piano and backed by a drummer, a violinist and a cellist, she performed most of her new album, including “Folding Chair,” “Dance Anthem of the ’80s,’’ and “Two Birds.”
“Far” was only released in late June, yet the audience seemed to know every word of every song and sang along in mostly hushed tones so as not to drown out the main attraction. It actually made for an interesting effect since they seemed to know every nuanced turn of the sometimes complicated vocal acrobatics. And luckily for them, Regina didn’t stray too far from the originals.
Among the highlights was an amped-up version of “Eet,” on which she played on electric organ, and “Fidelity” and “On the Radio” from her “Begin to Hope” album. She also played a short set of solo tunes from “Soviet Kitsch” on her fabulous green Gretsch guitar.
At one point, sound from her piano was giving her trouble so she spontaneously performed a song about eye color done a cappella.
Her encore was a thing of beauty. After playing “Samson” and “Fidelity,” she brought out a shofar to help ring in the Jewish new year. And she ended the night with what she called her first-ever, unrecorded country song “Love, You’re a Whore,” which brought the crowd to a roar.
Too bad the audience didn’t know the words. They would have loved to sing along.

The Avett Brothers at the House of Blues

The Avett Brothers are family. The two leads, Seth and Scott, are real brothers, and bassist Bob Crawford and cellist Joe Kwon are extended family. And the crowd at their shows? Yes, we're family as well. Before they even played a note on Sunday at the House of Blues, the band sincerely thanked the ecstatic audience for showing up, saying "We never thought Boston would feel so much like home." It was a snowy (Oct. 18??!) and cold night, probably not like their home in North Carolina.
And then they ripped it up, played their hearts out and jumping up and down for those crazy relatives who just can't get enough of them. They fuze their country-rock tunes with an indie-rock energy. The Avetts' stellar new album, "I and Love and You," has brought in some new fans -- me included. I didn't know exactly what to expect from them live, though watching clips of their performances on YouTube, I had a good idea what was coming. The new album has some seemingly low-key tunes, including the show opener "January Wedding," but those worried that the new material would slow the boys down were mistaken. By the second tune, "Salvation Song," they were full-on.
Scott and Seth take turns on vocals, even seamlessly on verses of individual songs. They also shared drumming duties, giving up their guitars or banjos between tunes to whack on the kit. Crawford moved between electric and stand-up bass and Kwon added some expressive strings even in pogoing, high-energy songs you wouldn't expect it to work. Another tip-of-the-hat to the House of Blues for near-perfect sound. This is my fifth show there, and the sound has always been great.
While I don't know a lot of the older Avett material, I know they did cover a good cross-section of their past ("Will You Return" from "Emotionalism" and "Pretty Girl From Matthews" from "Country Was") and present ("Laundry Room" and "Tin Man" from "I and Love and You"). The setlist is below, courtesy of the Avetts message board.
After a solid hour and a half of frenetic fun, the boys came back on stage and twice thanked the crowd for coming out. Then finished up with a great pairing of new and old with "And It Spread" and "If It's the Beaches." We thanked the Avetts and went back out into the cold.

the setlist:
January Wedding
Salvation Song
Head Full of Doubt Road Full of Promise
Talk on Indolence
Tin Man
Tear Down the House
Pretty Girl from Matthews
Slight Figure of Speech
Living of Love
Paranoia
Incomplete and Insecure
Gimme a Kiss
I Would Be Sad
It Goes On and On
Laundry Room
Wanted Man
Left On Laura, Left on Lisa
Perfect Space

And It Spread
If It's the Beaches

A video from the show is below: I didn't shoot it because the HOB police came over and specifically told me not to shoot video. I did take pics.
Click HERE for the pics

The Big Surprise Tour, House of Blues Boston

On the night Paul McCartney was playing right across the street at Fenway Park, my wife and I instead took a left turn on Lansdowne Street, away from nostalgia and ended up in a rollicking, ramshackle hoedown called the Big Surprise Tour. OK, it wasn't a total surprise, I had bought tix months before when I heard Gillian Welch and Dave Rawlings were going to be joined by Old Crow Medicine Show, the Felice Brothers and Justin Townes Earle in a seemingly free-for-all night of music.
First, an aside about the House of Blues: There are very few big venues in Boston that are able to feel like a club. For the most part, HOB works. The sound is terrific. It is a big place, packs a lot of people, but never seems overcrowded to the point that you can't move, and the sightlines, from just about anywhere are pretty good. I do wish the tall dudes would step to the back, and the beer, at $6, for a can of Bud, is way overpriced.
But I digress.
The show was amazing. The Felice Brothers, with help from various members of the Crow, started things off with the tour's signature song, "The Big Surprise." They then gave way to Justin Townes Earle, who played a few numbers and then brought out members of the Felice Brothers to help him with a gospel number to finish up.
By now we got the concept of the show. Each act would play a 20-30-minute set in which time various members of the other groups would come out and join them.
The Felice Brothers, who I had never heard before live (I had just listened to their latest album "Yonder Is the Clock"), proceeded to throw down some indie-rock/country/punk led by the diminutive, Dylan-esque growling Ian Felice. "Run Chicken Run" was a standout. Accordion/keyboard player James Felice deserves a shoutout as well.
After a short intermission, out came Gillian and Dave, playing as the David Rawlings Machine, which meant that Gill would play the role of harmonizer to Dave's lead. The two are mesmerizing no matter who is in charge. I have to say I came to see them first and foremost and was not disappointed. For Gillheads like myself, the setlist included: "I Hear Them All/This Land Is Your Land," "Sweet Tooth," "Monkey and the Engineer," "The Bells of Harlem," "Ruby," "Method Acting/Cortez the Killer," and a really great rendition of "Queen Jane Aproximately." Also, keyboardist extraordinaire Benmont Tench joined them for a couple of tunes and then stayed the rest of the night. I have to say I was much more impressed with him than I have ever been. I knew him as one of Tom Petty's Heartbreakers, but never thought he added tremendously to their sound. But he really shined in this show.
It was really a credit to the HOB that the sound mix was so good you could hear every instrument -- and many times there were a ton of them onstage. I didn't count, but there must have been 20 people on stage in the latter parts of the show.
After Dave and Gill, Old Crow bounded out and blew the crowd away. I have to say, I'm only a real casual fan. But they have a ton of energy and really brought the house down. While fiddle player/lead singer Ketch Secor gets a lot of the glory, I give props to guitarist Willie Watson, who's mop-topped head moved only slightly less than his gangly legs. They also have that country/punk thing going on and do it well. They wowed the crowd with their party tunes, including new ones "Alabama High-Test" and "Humdinger."
The number of musicians onstage kept growing with members of the Felice Brothers and Justin Townes Earle and Gill and Dave jumping on and off stage to help with songs. When they finally broke out "Wagon Wheel," their hit, everyone was onstage and the crowd went bananas. Dave had picked up an electric guitar, Gill was working the tambourine (It must have been tough for her with all that boy energy flowing around her), there were washboards, banjos, mandolins, a pedal steel and multiple keyboards. Surprisingly, the sound, though chaotic, was amazing.
For the encore, everyone came back out, this time Gillian on electric guitar (!) and they romped through "It's a Long Way to the Top (If You Want to Rock and Roll)," which was a blast. See the video I shot below. We left totally spent and a little stiff from standing for 3 1/2 hours, but it was so worth it.
The Boston Globe review HERE.


See my video of Gill and Dave doing "Method Acting/Cortez the Killer" HERE.
Check out my photos from the show HERE.

Jenny Lewis at the House of Blues

(image from Seattlesoundmag.com)

Somwehere around the fourth song, a dude in the audience yelled out "I love you, Jenny!" Which prompted another dude to yell-respond "Join the fucking club!," which got a laugh from the crowd around him.
And that pretty much summed up the Jenny Lewis fans in the audience, a mix of indie dudes and chicks -- and a few of older semi-geezers (me included!) -- who came to hear the singer's mix of country, gospel and rock tunes. And let it be said, Jenny Lewis is the complete package. Yes, she can rock a T-shirt and jeans like no other, and her stage presence -- with her dancing and posing onstage -- keeps all eyes focused on her, but more than all that she can flat-out sing. Her range on her albums is amazing, but that she can do it all on stage is even more impressive. Her voice commands attention whether she's standing solo singing a gospel number or surrounded by the full-on rock 'n' roll crunch of her tight and versatile band. Playing for more than two hours, Lewis played a generous portion of her new album, "Acid Tongue," a few choice morsels from "Rabbit Fur Coat," a couple of Rilo Kiley numbers ("Silver Lining," played solo) and, by my count, two new tunes (one called "The Big Wave.")
Here are a couple of highlights: She opened the show in force with "See Fernando," immediately showing off a band that is creative and powerful, and incredibly versatile. A pair of women percussionists, Danielle Haim and Barbara Gruska, also played crankin' guitar on certain tracks. The guy next to Jenny, Johnathan Rice, was playing the part of a young Neil Young on acoustic and had a great voice. And Farmer Dave Scher, who was an opening act as well, played all sorts of guitars, from lap steel to electric to some weird lap instrument. Other songs included "Rise Up With Fists!!," "The Charging Sky," and the Willbury's "Handle with Care" from the "Rabbit Fur Coat" album. She really took off on the electric tunes from "Acid Tongue." "Carpetbagger" and "Jack Killed Mom" were killer (he, he) and "The Next Messiah" was massive, with each part building and building to rock climax. Awesome. She also did beautiful renditions of "Pretty Bird," one of my favorite tunes from the new album, and the tune "Acid Tongue," which was one of three encores.
This is why you buy a ticket to a concert instead of sitting in your living room listening to the stereo.
For a professional take on the show from the Boston Globe, click HERE

Setlist:
See Fernando
The Charging Sky
You Are What You Love
Pretty Bird
Carpetbaggers
Sing a Song for Them
Jack Killed Mom
Trying My Best to Love You
Happy
Rise Up With Fists!!
Just Like Zeus
Handle With Care
The Next Messiah

Encore:
Silver Lining
Acid Tongue
The Big Wave
Born Secular

I didn't bring my camera this time because the last time I went to the HOB, to see Derek Trucks, they wouldn't allow it in. But here's a video of "Acid Tongue" posted from the show.