Feb. 11th (Thurs), 2010

Sleeping At Last: feat. a live String Quartet!!

w/ Matthew Perryman Jones & The Artifacts.
At: Lincoln Hall (the new venue from the Schubas owners!)
2424 N Lincoln Ave
Chicago, IL 60614
Tickets: $10 (in advance), $12 at the door.
Doors: 7PM, Show: 8PM
Age: 18+
Ticket & Misc. info can be found: http://www.lincolnhallchicago.com

>>>>>>>>>>>>>>>>>FREE SONG<<<<<<<<<<<<<<<<<<

We recorded a brand new version of our song “ALL THIS TO SAY” (featuring the “a sharp” choir!) and it’s available NOW as a FREE* download!

*Free with a tiny catch: In trade for the FREE song, we would very much appreciate your help in spreading the word about us!

… For those of you in the midwestern U.S., we’d really appreciate your help spreading the word about the above upcoming (Feb. 11th) Chicago, IL. show. Just click on the “Invite People To Come” over there to the top right of this page and invite your pals!

… For those of you NOT in the area, we would really appreciate you just telling your pals about us in some small way (via your Facebook or Twtter, etc. However you see fit!)

Thanks, guys! Here’s a link to download the exclusive version of “ALL THIS TO SAY” :

http://bit.ly/allthistosay

via Facebook | Sleeping At Last w/ Strings!! – Chicago, IL..

The Welcome Wagon

Fri, Apr 16; 8pm, Ladies Lit

via Calvin College – SAO

Upcoming concert

Noah and the Whale with special guest
Fri, Feb 26; 8pm, Ladies Lit
$15 public; $5 w/ Calvin ID

via Calvin College – SAO

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Upcoming concert

The Dutchess & the Duke with Medication
Thu, Jan 14; 8pm, Ladies Lit
$10 public; $5 w/ Calvin ID

via Calvin College – SAO

]]> http://drivebymedia.wordpress.com/2010/01/11/brandi-carlile-wsg-katie-herzig-the-intersection/ Mon, 11 Jan 2010 23:28:05 +0000 drivebymedia http://drivebymedia.wordpress.com/2010/01/11/brandi-carlile-wsg-katie-herzig-the-intersection/

Shows_The Intersection

Shows_The Intersection.

In 1974 Bob Marley made a minor breakthrough when Eric Clapton launched his comeback with a rather lame cover version of I Shot The Sheriff. By early 1976 his Live! album was the trendy wine bar’s soundtrack of choice following the success of No Woman, No Cry. But despite my natural aversion to wine bar soundtracks I was seriously up for it when my house mate Felix Wilson from Dominique asked me if I would like to go and see the great man at The Rainbow, Finsbury Park with his girlfriend. I had never been to The Rainbow before which was the prestige concert venue of the era and the University Of Surrey Afro-Caribbean Society had the best parties on the campus.

The memory starts in the Students’ Union building laying down with a nurse giving a pint of blood. It was Derby Day and the Blood Transfusion Service ladies had a serious bet on Lester Piggott. As I lay down relaxing after giving them an armful the housewives’ favourite was heard on the radio winning a nice little sweetener for their modest income. I was glad they had inserted and removed the needle before the race started as there was much excitement. Having inherited the leaflet collection bug from my father I left with several examples featuring clean cut Noel Edmonds extolling the virtues of giving blood for later study when sat on the loo. The tradition in those days was to head straight to The Upper Bar after the free cup of tea and a biscuit, the theory being less blood in the body made the pint go further.

Late afternoon we headed off to London, Felix’s girlfriend (black, this will be significant later) having a car and performing driving duties. Somewhere in Kingston we stopped for fish and chips, having parked on a pelican crossing zig zags I was hardly surprised when the police pointed out this indiscretion. Two firsts for me that evening, first ride in a car driven by a black person, first time I had been in a car and the police had given the driver a ticking off.

Fish and chips down the hatch, Thames crossed, car stopped a second time by the police for some minor misdemeanour none of us spotted, car parked and just in time for the show. In we went and there were T shirts on sale, something relatively rare at concerts at the time. I had a fiver in my pocket, same price as the red T shirt with the Exodus logo in black so that was me cleaned out, or so I thought. As we queued up to go into the standing area there was a sudden push from behind and before I knew it my back pockets were emptied of Noel Edmonds memorabilia. Hey ho, it wasn’t one of his best jumpers and I could find something else to read next time I went to the loo, maybe an academic book, no, don’t be silly! Immediately I got inside a big crush formed around me and a group of hands went into every pocket from several directions, all that was left was my room key but having large legs and relatively tight jeans it stayed put. But they weren’t giving up and I had to be rescued by two security guys who hauled me out of there and got bad-mouthed for their actions. I left them all getting stuck into each other using phrases to denigrate their respective manhoods, sisters and menstrual cycles I had never heard in Bristol.

Beyond the melee support act Rico was leading his band with various trombone based reggae tunes and rhythms. These days he breaks into song but this was pure instrumental. To relieve their boredom, every few minutes a group of youths would run across in front of the stage hotly pursued by equal numbers of security guys. There would be a runble in the corner then the security guys would run away pursued by the youths. It looked very Keystone Cops to me seeing the groups chasing back and forth and amused me now I was safe from the pickpockets. When Bob Marley played The Lyceum in 1975 there had been great tension between the mainly black audience and the all white security, this time around the security were all black locals. Somebody nearby reckoned the troublemakers and security all knew each other and this event was being used as an opportunity to settle a few scores.

Eventually the main event started with the band introduced by an MC with a very strong voice, all very Jamaican with a large backdrop of some album artwork. The I-Threes were wonderful with long dresses and very fancy head gear, the boys in the band sporting relatively sensible hair to Bob’s entanglement of dreadlocks wearing his usual denim shirt and jeans. He ruled the stage, was everywhere and anywhere and had the audience singing or oy oh, ah woa woa woa woaing every time the urge hit him. The rhythm and the feel was quite magical and nothing like the rock bands I was used to, even the glamour of early Roxy Music seemed superficial compared to this. Stood right next to me was a small military tank of a man with outrageous dreadlocks engulfed in a guff of herb which crept into my nostrils more than once and contributed to the other-worldliness of the event. As best I can recall the set was essentially some of the Exodus album with earlier songs featured in The Lyceum Live! album. Exodus itself became a vehicle for displaying the individual talents of the band with a Peter Frampton style vocal guitar effect playing “Bob Marley And The Wailers” through the lead guitar, or something like that!

We all loved it, headed home and got stopped by the police twice more, surely her driving wasn’t that bad? Every time we were stopped it seemed as if my white face in the back made it all OK, the seal of legitimacy but four times in one night!

There were three more shows at The Rainbow, the remaining two were cancelled as the result of a footballing toe injury Bob Marley sustained which ultimately lead to his death in May 1981. In June 1978 I saw the band again at Gröna Lund in Stockholm on the Kaya tour, a predominantly white audience with the exception of some Ethiopians who loved my T shirt with their traditional calligraphy on it, by then it was more of a show aimed at the international audience featuring the hits from Exodus like Jammin’ and Waiting In Vain. My final show was The Crystal Palace Bowl in June 1980 supported by Q Tips (Paul Young lead singer), Joe Jackson and The Average White Band. It was more of a celebration with lots of Caribbean food on sale and a large number of London blacks giving it a great buzz and turning the day into a true punky reggae party. While I enjoyed the show with my friend and sister my brother-in-law was running the Portaloos before moving into concert generators for the likes of U2, Madonna and Pink Floyd. The following year I was ironing a shirt with headphones on listening to Radio One when the news came through Bob Marley had died of cancer. I didn’t burn the shirt, a special flame went out that day.

4,000 strong saw Skillet perform at the Deltaplex. Here ia review of the show from the Grand Rapids Press on MLive.com.

Family Force 5 Christmas Pageant

Did anyone have doubts about a band like Family Force 5 doing a Christmas album and a supporting tour ? If you did, those doubts were firmly laid to rest on the opening night of their Christmas Pageant Tour. Not only did the band play the entirety of their Christmas album in their own signature style, they literally blasted through a non-stop medly of fan favorites and hits. The end of the show was a breathtaking romp through many of the band’s biggest hits. It left the band and the crowd exhausted but happy.

The staging had all the classic elements: wrapped presents, white christmas trees, stockings hung by the fireplace and snow that was periodically blown out into the crowd. The band themselves were decked out like they walked out of a Charles Dickens novel; complete with green plaid pants, white shirts, black vests and top hats. The fans were encouraged to dress up in there finest Christmas outfits and some were picked to participate in the songs on stage. The participation included dancing,  stacking and throwing presents, wearing giant ears, waving babies (dolls). Let’s not forget the various costumes, An abominable snowman, two reindeer, a giant ornament wearing a santa coat and carolers ringing bells (Which I believe was the band House of Heroes)

The show was opened by New Zealand band All Left Out. They received a warm welcome despite being a relatively unknown band.

House of Heroes followed with an all too short set. Opening with the Hallelujah Chorus, they played one song from their Christmas Classics EP as well as a couple from their lastest The End is Not the End. The final song In the Valley of the Dying Sun brought together all the elements that make this band great. Tight harmonies, classic rock riffs and all with a pop/punk attitude. “Ready to Shine on Indeed”

Remedy Drive were energetic and solid, although their set suffured from their lead singer being under the weather as well as sound mix issues. The lead singer was still able to do his share of climbing aboard the keyboard, drum riser and  speakers. His antics as well his playing witht eh keyboard effects might remind you a bit of Paul Meany from MuteMath.

The show would not be complete without something from the band and we were able to pick up the vinyl version of Dance or Die. How cool is that!

Check out another review of the show at cooperating with grace

Follow Joshua Olds (aka Fatty’s) medical issues at twitter.com/SoulGlowActivtr

Photo Gallery from the show family-force-5-christmas-pagaent-photo-gallery

Here is a photo gallery from Family Force 5’s Christmas Pageant November 28, 2009  @ Resurrection Life Church Grandville Michigan

(click on photo for larger image)

You Know, a Funny Thing Happened to Me…

I was thinking of my cousin’s band yesterday, He Who Dredz, who I know have a show coming up on the twenty-eighth of November, when I realized: I didn’t know at what time or where they were playing.

I thought they were playing at Pop’s. I was wrong.

Which, incidentally, is how I came to know of Fubar, in Midtown Alley, and of Firebird, in St. Louis, which I will, from now on, bring to you news of upcoming shows from both monthly.

Billed the “Best All-Ages Venue,” by the Riverfront Times, Fubar is located in in the historic district between Compton and Cardinal at 3108 Locust, St. Louis, MO 63103.

Firebird, on the other hand, bills itself as “St. Louis’ Best New Music Lounge. Firebird used to be known as Bluebird, before it closed for a few weeks in January for upgrades, and was reopened as Firebird. It is located close to Fubar, at 2706 Olive Street, St. Louis, MO 63103.

Both, while closer to Lindenwood than Pop’s, are also farther away than The Pageant, but unlike either Pop’s or The Pageant, cater exclusively (so far as the schedules say) to local and underground talent. You’re not going to see Megadeth or Skillet here, as you would at the other two.

Of course, this also means that prices are more manageable, for the Broke-Ass College Student (BACS) budget that’s usually got us up against the financial wall.

As well, it gets us away from the mainstream tractor beam that always seems to hold us in such awe. (I am, sadly, within firm grasp of it.)

Situation: FUBAR

The shows at the Fubar include:

• Tuesday, November 17, 2009: FREE Acoustic Show in Lounge, featuring Stian Skaaden, Mike Vinopal, Pat Baum, Morgan Nusbaum of The 75, Jon Dittmer, and Riley James

• Wednesday, November 18, 2009: Auternus, Latin, Lesser Key, SOMA, N.Nomurai, + guest

• Thursday, November 19, 2009: Jeff Gorski, Off Course, Katherine Knight, Action Noun Action, Hearts Like Lead, Gay Breakfast, Jesse Ives & Guests
• Friday, November 20, 2009: Slave to the MetalFest hosted by Mistress Juliya, featuring Buried Beneath, Deadlife, My Name is a Weapon, Colors From a Cannon, Call Me Goliath, Powerhead, The Ship of Fools, Compelled to Destroy, Hollowed Point Heroes, Bare Knuckle Conflict, Inimical Drive, D-Railed, and Walk of Ignorance

• Saturday, November 21, 2009: Slave to the MetalFest hosted by Mistress Juliya, featuring The Tards, Modern Counter Culture, Mans Laughter, Drag the Dead, Paradigm Grip, Seven Year Existence, Humanities Dusk, Hope Can’t Save the Dead, Ashes of Scorn, Gigglefit, and Headchange

• 7:00 p.m., Monday, November 23, 2009: Dead Swans, Mother of Mercy, Nothing On Nothing, Feeding Lies, and Head For the Mountains

• 10:00 p.m., Monday, November 23, 2009: SPEEDWOLF, Zuul, Die Wasted, and Terra Caput Mundi
• Tuesday, November 24, 2009: The White Tie Affair, Every Avenue, Stereo Skyline, Runner Runner, and The Chain Gangs of 1974

• Friday, November 27, 2009: November MetalFest featuring Shotgun/Bayonet, Invictus, Scavenger, Lyluth, and more.

• Saturday, November 28, 2009: Days of the New w/ special guests Three Fortys, Bullshed, Take a Number, and Off Course

• Monday, November 30, 2009: Broadcast the Nightmare, Corpus Christi, and Whisteria Cottage + Locals -  Divide the Past and Walk of Ignorance + 1 TBA
• Thursday, December 03, 2009: The Captain Midnight Band and The Pat Sajak Assassins, with guest

Burn, Baby, Burn

At the Firebird, the performances include:

• Wednesday, November 18, 2009: Caporetto w/Engine Orchestra, and Tilts
• Thursday, November 19, 2009: Daytrotter Presents- Ezra Furman & The Harpoons w/Rachel Goodrich and Peasant

• Friday, November 20, 2009: Anders Parker w/Jon Hardy & The Public and The Dive Poets
• Saturday, November 21, 2009: Headlights w/Pomegranates and Fractured Army

• Wednesday, November 25, 2009: Local H w/Kinch and One Lone Car
• Thursday, November 26, 2009: Grand Buffet w/Celery, Humanoids

• Friday, November 27, 2009: Lengrand w/Pirate Signal, Sleep In Sundays and Falsetto Boy
• Saturday, November 28, 2009: EARLY SHOW – Raising Kane, He Who Dredz, Icon For Hire, Pinkleef, and The Drama Score

• Saturday, November 28, 2009: LATE SHOW – Season To Risk w/Gold Tooth, and The Unmutuals
• Sunday, November 29, 2009: We All Have Hooks For Hands w/Target Market and Tarlton

• Tuesday, December 01, 2009: Holly Golightly and The Brokeoffs, Kentucky Knife Fight, TBA
• Wednesday, December 02, 2009: Big D & The Kids Table w/Sonic Boom, BAMF!, and Disturbing Lou

• Thursday, December 03, 2009: The Gorge, TBA

Remember to check both Fubar’s and the Firebird’s websites for updates to shows with TBAs or for shows that were unbooked, and thus could not be reported on.

Check back in after December 11 for more shows to see at Fubar and the Firebird for your holiday break. ‘Cause there’s nothing like sampling the local music cuisine!

Once again, it’s time for your monthly serving of shows happening at local concert venues. This time, I’m sending my attention back to Pop’s Nightclub Concert Venue in Sauget, Illinois, just off of the Poplar Street Bridge on Highway 3 South.

I know it’s the last four weeks of the semester, but if you ever need a break from studying, papers, and last minute exams, then Pop’s has some great acts to see during this time. These include a beer pong tournament with a chance to earn a trip to The Flamingo in Las Vegas to win $50,000, Insane Clown Posse, Trivium, and Megadeth! Local acts include Opposites Attack, Silent Doom, Persona Crown, Slabcity Gorillaz, Incineration, and Make Me Break Me.

The dates for the shows are as follows:

• November 18, 2009: The Point Beer Pong Contest featuring Opposites Attack, Coma, Make Me Break Me, and Black.
• November 19, 2009: A Local Music Showcase featuring TBA
• November 20, 2009: Silent Doom, Search Party For My Ex-Wife, and TBA

• November 21, 2009: Persona Crown, Operator 303, Burning Down Oceans, The Vanguard Party, and Rockface Barband

• November 22, 2009: Slabcity Gorillaz, Trent Smith, and TBA
• November 24, 2009: Incineration, Pariah, Blood of Heroes, Survive The Flood, Creative Diversion, and The Blackout Agony

• November 27, 2009: Flobots w/Kinetix and Midwest Avengers

• November 28, 2009: Insane Clown Posse w/(hed) p.e.

• November 29, 2009: An Honest Upset, and TBA
• November 30, 2009: Psychostick w/Make Me Break Me, From Skies of Fire, and Bonneville

• December 03, 2009: A Local Music Showcase featuring TBA
• December 4, 2009: Trivium w/Chimaira, Whitechapel, and Dirge Within

• December 6, 2009: Megadeth w/Suicide Silence. Warbringer, and Arcanium.

Remember to check the Pop’s website for new information on any date listed with TBA, as these slots and dates are currently being booked. Also, remember that national shows like Megadeth will be much more expensive than local shows, which are usually seven dollars.

Pop in sometime after Thanksgiving for another edition of Let’s GO! Pop’s, where I’ll expand on more December shows for your holiday break and into 2010!

After you are done giving Thanks,  filling up on turkey and had enough of shopping, head on down and see Jonezetta & The Colour Revolt. (If you are in Jackson Ms. that is!)
Info

If you missed the live broadcast of U2’s concert from the Rosebowl (October 25, 2009) it is replaying now on Youtube

2nd Ave and 6th Street, NYC. 10003

This beloved concert venue of the East Village leaves behind a light post adorned with mosaics and not much more. Unless of course you would consider dropping $1,500.oo for a vintage T on ebay.

:  :  :  :  :  :  :  :  :  :  : 

Please do not steal these photos. It is simply bad karma and you could develop a nasty rash all over your body – is it really worth the risk?

MAE along with special guests Deas Vail and Jenny Owen Youngs will be in concert at the Mixtape Cafe October 31, 2009

via Fusion Shows

Wealthy Theatre is proud to present Derek Webb (formerly of Caedmon’s Call) live in concert, Friday, October 30 at 7:30pm. Tickets available online now!

STOCKHOLM SYNDROME is described as Derek Webb’s most soulful and subversive album yet – and the most dangerous and thrilling pop record of the year.

via CMC | News.

Here’s a great lineup coming to Calvin College

Creation Festival: The Tour
Jars of Clay, Thousand Foot Krutch, Audio Unplugged
with B. Reith, This Beautiful Republic & FM Static
Mon, Oct 19; 7pm, Hoogenboom Center
$35 VIP; $20 public; $10 w/ Calvin ID

Conversation w/ Jars of Clay: 2:30pm, Hoogenboom 280

via Calvin College – SAO

MuteMath wsg. As Tall As Lions
Tickets are $22 in advance – $25 day of show
Doors @ 6:30pm
This is an all ages show
via The Orbit Room.

Monday, October 12
Farewell Flight wsg’s Middle Distance Runner, Era Everafter, Oh Brave Youth, Coronete & A Summer Love
06:00 PM / $8 / All Ages Welcome
via MIXTAPE CAFE : Events.

Historic Star Hall of Moab

Only one block off of Moab’s Main Street, this renovated theater (2008), has served Moab as a social gathering place since 1904. Now boasting two dressing rooms for performers to make ready before appearing upstairs on stage. The sound and light technician is hired in addition to the venue rental. Seating for 289 people, plus 3 spots for wheel chairs and ample parking make the Historic Star Hall a reasonable location, simply for the ease of access. So if your gig line up can be navigated through Moab, Mix Business with Pleasure and plan a stop and some sightseeing in Moab Utah.

Historic Star Hall Moab

The Hope College Concert Series will feature Pomegranates on Saturday, Oct. 10, at 8 p.m. at Lemonjello’s in downtown Holland.

Admission is free with a Hope College ID, and tickets will cost $3 for the general public, payable at the door.

Pomegranates is an indie/pop/shoegaze, Cincinnati-based band, formed in 2006 and signed to Lujo records. The band has toured nationally and has released two full-length albums, “Everything is Alive” in May 2008, and “Everybody, Come Outside!” in March 2009. In a review of the group’s debut album, the online music critic for canyouseethesunset.com described Pomegranates as “full of potential…” and “shar[ing] that same under-produced but charming quality that the first two Death Cab records have…”

Opening the night will be Faces of My Time, which is from Traverse City and fronted by HopeCollege junior Jacob Bullard. Faces of My Time opened for Paper Route in January 2009 at the Knickerbocker Theatre.

via Hope College | Arts.

The crowd was smitten with her, for sure.”

Taylor Swift performed in concert at the Van Andel Arena Oct 2, 2009. Read the review at MLive.com

The show was what fans have always expected from U2: intense, heavy with emotion, soaring in its theatrics and penetrating in its messages.”

U2 – 360 Tour Chicago Show #1, 09.12.09
Reviewed by Ed DeLong

Opening night of The States arm of the 360 Tour brought out plenty of energy from the Boys and the crowd.  The show was what fans have always expected from U2: intense, heavy with emotion, soaring in its theatrics and penetrating in its messages.  The staging was wonderfully arranged.  The visuals created by the “widget” claw in lighting and atmosphere were typical of a good rock show, very cool looking.  The band was captured by a variety of cameras that were brilliantly produced onto the very large 360 degree high definition television screen that hung below the widget.  Often during the show it felt like you were already watching a video of it, in that the quality of the shots and angles of vision were so well integrated with the ideas in the music and the show.  Other media also made its way onto the screen (which also expanded downward during part of the show, increasing its size by three times) setting moods or just adding to the beauty of the show.  Though nothing like the visual overload in the ZooTV or Pop Tours, it was still a pleasure just to watch.

U2 has made a point of flat out rocking harder than ever before…And when they are on, like Saturday night, I don’t see anybody out there beating them.”

This show also rocked!  It seems to me the last two tours U2 has made a point of flat out rocking harder than ever before.  At the end of Vertigo Bono looked down at a camera and threw a couple punches.  I knew what he was signaling, and I agree.  At this point in their career I’d put up U2 against any other band in a competition for just rocking hard.  And when they are on, like Saturday night, I don’t see anybody out there beating them.

Along this line, during several tours U2 has made a point of starting the show in some unusual way, just to prove that they can capture an audience without the usual trappings of a staged rock show.  During the Elevation tour they actually began the first song with house lights still up and didn’t switch over to stage lights till well into the song.  A powerful move.  This show followed suit, beginning with Breathe, off the new Album.  It is not a lead off song (I don’t think there is one on the Album), but it is about finding space in the world to relax, to be yourself, to breathe.  From that perspective it fits as a lead off tune.  Three more new songs followed, then Beautiful Day and Elevation.  By the end of this grouping the crowd was so involved, the audience singing so loud, that Bono began to take notice.  The mood changed as they played Still Haven’t Found . . ., but at the start of the second verse Bono quieted the band and stepped back from the mic, and just smiled as the audience sang perfectly as one the entire second verse.  Singing your heart out at a U2 show is nothing new, but an entire verse? Unique I think.

Several other songs got rearrangements.  An acoustic version of Stuck in a Moment was done by just Edge and Bono.  The timing was changed giving it a more staccato rhythm, which gave Bono the opportunity to emphasize certain lyrics.  He repeated the line “It’s just a moment” four or five times at the end, nicely leading you to the point that whatever the issue, it too can pass, if you can let it go.  I’ll Go Crazy . . . was completely revised and sounded like a mushy club dance mix with lots of bass and Larry walking around playing a bongo.  I much preferred this take to the albums version.

Another aspect of every U2 show is the thread of ideas flowing through each song and in the transitions between them.   I have a particular fondness for this.   Some complain that U2 should play a greater variety of their work in their shows.  I am not one of them.  I love the way old songs can take on added meaning by what other songs they are grouped together with, and how a numbers depth of meaning can be enhanced in the same way.  A special one of these moments happened for me with the transition from Elevation to Still Haven’t Found. . . .  The first peak of intensity in the show occurred with Elevation.  It both summed up the first five songs and provided a kind of closure for them.  Well then it’s a natural fit to recognize that even given all the joy and fulfillment of those early songs it is nonetheless true that something still is always missing in life, or that moments of pain can steal it away (the following song).  Unknown Caller followed on Stuck in a Moment, offering a path out of your suffering.  Then the songs that followed (Unforgettable Fire, City of Blinding Lights, Vertigo) all began to move out into life in the world from a more positive outlook.

Perhaps the spiritual focus for 360 is learning to come to terms with your shortcomings and finding the courage and new direction to continue on anyway.”

These elements lead me to ponder the spiritual content of the show.  As always U2s interest is with the soul rather than just the body.  For me the most spiritually uplifting Tour was Elevation (2001).  It felt the most like being at church, or in the presence of divinity, of which U2 was the conduit, not the focus!  I haven’t figured out yet how to classify this one.  I think it was second only to that show, but different.  There was more here about muddling your way through life rather than just celebrating it, maybe more too about repentance and changing your direction mid-course.  Perhaps the spiritual focus for 360 is learning to come to terms with your shortcomings and finding the courage and new direction to continue on anyway.

Usually I shy away from picking favorites; there are just too many quality moments and songs.  Especially with the integration of a U2 show in the atmosphere and the mood of the song, as well as the thread of ideas and themes from song to song, it’s usually just too difficult to single out one element as best.

…the most piercing performance was Ultra Violet”

But this show was different.  For me the most piercing performance was Ultra Violet (Light My Way) (Achtung Baby).  One of their many undervalued songs, Ultra Violet communicates a desperate heart’s pleading for its love to lead it, to fill it, to complete it.  It’s about the dirt and the mess, the distorted emotional turmoil in relationships.  It’s about a desperate need; one that wrenches the heart from its setting.  One for which there’s no cure, where your only hope to survive resides in your lover’s unwilling grace.  It is Angst squared.  And live, it was haunting and surreal.  But how do you capture such a thing in writing? How do you “re-view” it?  In order to be fair to U2’s performance in my description, I shall attempt to evoke from you something like the haunting and surreal feelings I experienced while watching it.  (good luck)

In the dark and purple mist Bono re-enters the stage in a jacket covered with dozens of laser like lights shining out spikes of red light (only Bono right?).  As he moves forward he grabs hold of a ring of light suspended just above head high, kind of like a steering wheel or an old radio mic with an inner circle surrounded by a larger one, the ring is lit in a florescent yellow and red.  The song begins quietly with Bono speaking the opening words as he slowly spins.  As the song progresses the spins become more violent and he drops his head between lines, tiredly holding himself up by the ring.

He pulls himself back up to sing out another line, and as his head drops again I slip into thinking that this moment feels like some dark, lonely lounge in a large city, where a singer who is past his end continues the ritual of performing every night, with or without an audience, simply because he must.  Most of his stuff is trite and uninteresting.  But then this haunting song comes on when you feel something different from him.  You stop and look, and you realize that this song, this moment, is why he is here tonight, and every night.  He must be here to sing, to bleed out (thanks LP) his pain, his love, his turmoil.  He has no choice, because his lover exists now only in this place, only in this performance.  He yearns for its presence, he desperately needs it: so he sells his soul every night to get it here.

His lover, his love, is not the kind you can control, but it does control you.  And it’s not gentle either.  It twists your mind, it breaks your heart, and rips your soul.  But all the while you thrill to it, you gasp at the pleasure it brings, you’re sick with love for it.  So you try to cling to it, to hold yourself up by it, you can’t let go.  Its hold on you is so strong it seems like it comes from another dimension, like it reaches down from above and to lead you on, to play you like a marionette.

When this love is on it carries you, like grace, it’s almost like floating.  Bono runs a little and lifts off the ground, swinging and spinning wildly as he continues singing.  Light spills out from him, mirror balls fill the stadium with spikes of beauty.  It’s exhilarating, breathtaking.  His voice reaches for the sky: louder, higher and fuller, letting out more emotion than seems possible.  It feels out of control, wild with intensity and angst.  It’s the flower of love, and with this love you could conquer life, worlds, even yourself.  Hell, you could even sleep on stones if you had to, and smile comfortably.

But when it’s gone, even riches and luxury won’t stop the pain.  Nothing can help the lostness, the loneliness, the weight of emptiness in you.  You can’t speak and you can’t sleep, you can’t live.  He’s down on the stage now.  He pulls himself back up one more time, to bleed out another line, to light up his love, to let out a little of his pain, the opera in his mind.  For just a moment as he sings he’s alive again, then he drops his head, empty and exhausted.  The song’s pulse quickens as it moves between these poles of emptiness and fullness, between raging your heart out into the mic and hanging your head in helplessness.  It’s the theatre of the lover’s soul.  It’s tragic, but it’s also beautiful, this requiem for his lover.

And when this song is over, you are done too.  You might as well go home and lick your wounds, you’ve had your ass kicked, and without the song you have nothing left to feel either, like him.  For this song you clap. You go up and thank the performer, because you felt it with him, you really lived with him, in this magical performance.  But you will also be haunted by the performance of this song, this ritual, all of your life.  You think it has captured for you something of the soul of love.   And that feels both beautiful and dangerous.  Of course all this is in the surreal life of a rock and roll show.  In real life U2 is moving on to their next number, With or Without You, which is going to evoke still more emotions from me as it pierces my heart and lifts my soul, so yeah I gotta go, I’m running out of cathartic change!

Ed is a veteran of nine U2 shows and raved so much about this one I asked him to share his thoughts about the show. If you already kicking yourself for not being there then I am sure you really are now! -dbM

Contact him at (ed_delong@yahoo.com ; Facebook:Ed DeLong)

Owl City is playing at the Intersection October 24, 2009

All ages welcome. $12 advance. $15 day of show. Doors 6pm. Show 7pm special guest Kate Havnevik and Unicorn Kid

via Shows_owlcity.