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 Avetts... and Dragonforce!

I can't wait for the arrival of the Avett Brothers this weekend (House of Blues, Sunday). Their new album, "I and Love and You," is definitely one of the best of the year. Almost every song is great. More to come on them after the show.
I'm still loving my trip to Worcester last weekend to see Dragonforce with my son Adam and his friend. For those unfamiliar with the band, their name pretty much gives away what kind of music they play. While I can't say I'm a fan, I certainly enjoyed the show -- something I never would have seen if it weren't for Adam's interest. The band is sort of goth, speed-metal -- fantasy lyrics (not that you could make them out in concert), two guitars, a keyboardist who also wailed on the keytar!, bassist and singer. The light show was great, dry ice, posing, fans blowing back the bands hair... it was AWESOME!
Anyway, I will write more about my experience in my next issue. Yes, something to look forward to.
Below is a clip someone else took from the show. That's my pic at the top of the keyboard players from Dragonforce and Sonata Arctica in a keytar duel. Told you it was fun.

New album from Gillian Welch and David Rawlings!

Actually it's a David Rawlings album with Gillian on it. The website Broken Wave Music has the info (editor's note: It's acually a Billboard story I found on Broken Wave), and it looks like the first David Rawlings Machine album, titled "A Friend of a Friend," will be released Nov. 17. This is pretty exciting news since it's been 6 years since the duo's last album, the Gillian Welch album "Soul Journey."
Here's part of what Billboard reported:
"Rawlings produced 'A Friend of a Friend' himself, recording it earlier this year at RCA Studio B in Nashville. Welch appears on eight of the nine tracks (and co-wrote five of them), while other players include keyboardist Benmont Tench from Tom Petty's Heartbreakers, keyboardist Nathaniel Wilcott of Bright Eyes and members of Old Crowe Medicne Show, whose 2006 album 'Big Iron World' was produced by Rawlings."
Among the songs on the album, according to the report, "To Be Young (Is to Be Sad, Is to Be High)" which Rawlings co-wrote with Ryan Adams, the Rawlings-Welch-penned "It's Too Easy" and the Bright Eyes song "Method Acting"/Neil Young's "Cortez the Killer" combo they've been playing in concert.
Click HERE to read the full story; it's got some great quotes.

Issue26, Sept. 2009

Far Out - Regina Spektor blows us away – on her album and live in concert
We were worried for Regina Spektor. Yes, worried.
We first experienced the World According to Regina when she was an opener along with Josh Ritter for Keane at an outdoor venue in Boston in 2005. (Guess who we were there to see!) Regina performed solo on the huge stage, and we remember thinking “who is this strange woman? What planet did she come from?” She was not any kind of singer-songwriter we had seen before and her songs and voice did not fit anything we’d heard before. She seemed a little lost up there, a lone figure sandwiched between the two massive video screens.
The next time she caught our attention was when she released the 2006 album “Begin to Hope.” This time we were blown away. Her tunes, a little less avant-garde and a little more pop, began to make sense to our ears. And her gorgeous, fluttering voice on songs such as “Fidelity,” “Better,” and “On the Radio” affected us like few others. And while commercial radio played these tunes occasionally, a fervent and devoted following grew, awaiting every video and interview she did.
Regina had seamlessly made the transition from quirky anti-folk outsider to quirky indie-pop darling. We loved it.
And that’s why we were worried. Would Regina, with her critical success, journey further into pop, leaving behind her wonderful quirkiness? Would she go all Tori Amos on us? Please no.
Well, our fears were for naught. Her new album, “Far,” picks up where “Begin to Hope” left off, and her live performance, which we caught recently was equally quirky and refreshing. You can read both the review of the album and the show beginning on Page 4.
And speaking of albums and live shows, we’ve noticed recently the trend by musicians and bands performing an entire album, start to finish, in concert. Bruce is playing “Born to Run,” Van Morrison did “Astral Weeks.” Whether you like the idea or not, it certainly makes one pause to think “Who would I like to see play one of their albums live in its entirety?”
We asked our readers what album would you like played in concert? Check out our readers’ poll results to see what others said.
No worries, Rich Kassirer, editor
To read the new issue, click HERE.
To read album reviews of Regina Spektor's "Far," The Avett Brothers' "I and Love and You," Erin McKeown's "Hundreds of Lions," and Thao's "Know Better Learn Faster," click HERE.

More Eilen Jewell, and other bits

I know I've blogged more about Eilen Jewell than about most bands... they may have to put me on the payroll soon! I can't help it. I think the band is great, and their new songs rock. Got a chance to see them a couple of weeks ago (that's how behind I am!) at Precinct in Somerville. I had not been there before. It's a small space under a restaurant that used to be a police station. As usual Eilen and the boys put on a fun show, running through a lot of the "Sea of Tears" album, a few from past albums and a great cover of the Yardbirds' "Putty (in Your Hands)" -- see the video below.
For more photos, click HERE


Another video is HERE

Another fun Eilen note: I recently downloaded the new iTunes 9. Afterward, when I was watching a quick tutorial on the new features, I noticed that "Sea of Tears" was one of the albums featured on the tutorial's playlist. Not bad pub for a small-label release!

A little shoutout to my friend Scott Duhaime and his band Tan Odyssey. The other night I ventured to Harvest Cafe in Hudson to hear the band in a stripped-down semi-acoustic performance. Now these guys all have regular jobs and don't get to practice, let alone play out, much. So this was a big deal and a fun night hearing their mix of originals and covers. A standout tune was their reworking of the Allman's "Whipping Post," done as a slow blues on acoustics. Pretty cool arrangement.

Finally, a couple of shows I'm definitely looking forward to: Regina Spektor next week at the House of Blues; the Avett Brothers also at HOB -- I've heard their new album, "I and Love and You," and it is a knockout. Look for a review of the album in my next mag issue (Late September); Grace Potter, also at HOB. Haven't seen her yet so I've gotta catch her...

Modern Acoustic Readers' Poll -- please particpate

Next month in Chicago Bruce Springsteen is slated to perform his classic album "Born to Run" in its entirety from start to finish. This has become quite a trend lately as more and more artists are bringing back their most-loved albums and playing them in concert. In the recent past, Steely Dan performed, on separate nights, "Aja," "The Royal Scam," and "Gaucho." Van Morrison embraced his famed "Astral Weeks," and Aerosmith cranked out "Toys in the Attic." It's a win-win for both the artists and fans, with little mystery of how the night's music will be recieved. Other artists, from a variety of genres, have gotten into the act, including Roger Waters (Pink Floyd's "Dark Side of the Moon"), Judas Priest ("Hidden Steel"), and even Lucinda Williams, who did a string of gigs in New York playing a different album in the first set of each night.

So here's my question for you, the astute readers of Modern Acoustic: Who would you like to see perform one of their albums in its entirety? Give the name of the artist, the name of the album, and a short explanation why. I will publish the responses in the next issue (hopefully coming out in late Sept.)
You can email me your response at rich@modernacoustic.com

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.