Paul Simon’s Graceland: Fire in the Kitchen

Undercover Presents

Paul Simon: Graceland

Jewish Community Center- San Francisco

San Francisco, CA

April 12, 2014

Paul Simon’s Graceland: Fire in the Kitchen

Just two months ago, I was waxing rhapsodically about Undercover Presents as being the Best In Show in the Bay Area live music scene.  While that still holds true, the latest Undercover of Paul Simon’s Graceland, did not quite live up to the lofty standards that were set during earlier UPs of Joni Mitchell’s Blue or Sly and the Family Stone’s Stand.  And though this could be an entire blogpost about the controversial, award-winning classic album and its controversies and award winning, I will resist the temptation.  There's already plenty of That on the internets for those who are interested.  

Despite the one or two disappointing performances last night, there was also plenty to celebrate, including John Vanderslice’s folky 'Graceland,' Diane Gameros’ latin jazzy 'Gumboots,' Afrofunk Experience’s afrofunky 'Under African Skies' and Guy Fox’s indie 'Crazy Love.'  One of the big talking points of the UP Graceland will undoubtedly be the Pacific Boychoir.  A supremely talented and much decorated choir of young boys who performed a fairly faithful rendition of Ladysmith Black Mambazo’s 'Homeless.'  Also, much discussed, in a more negative sense, was the experimental pop of Bill Baird who altered 'You Can Call Me Al' pretty much beyond recognition.  In the end, his performance seemed like experimentation for its own sake.  Walking around in circles in a purple poncho while reciting a pizza order through a distorted mic does not qualify as art, mostly it is just annoying.

While UP’s Sly The Stone Stand! was a nonstop high-octane party, UP Graceland was more mellow and introspective.  Not a big surprise given PSimon's more quiet, literate music.  In fact, the party did not really get going until after a kitchen fire set off alarms and caused the theater to empty out on to the street.  Several of the musicians followed the crowd outside and created an impromptu drum-circle while waiting for the all-clear from the SFFD to go back inside to continue the show.  Then, for the final number, PS's '50 Ways to Leave Your Lover,' members of the audience flocked to the stage to dance and drink with the entire ensemble.  A memorable evening to say the least.  (Stay tuned for more UP including an encore of Stand at the Fox and the upcoming UP does Bob Marley.)

Hugh Masekela: The Best of South Africa

Hugh Masekela

The Miner Auditorium

San Francisco, CA
March 25, 2014

Hugh Masekela: The Best of South Africa

There are few artists that can be accurately characterized as a living legend.  Frequently, that honorific is thrown around willy-nilly without any relation to actual accomplishments.  However, master trumpeter and flugelhornist (flugelhorner?) Hugh Masekela is real live living-legend.  He is also a powerful reminder of the power of music.  After three decades of exile from apartheid South Africa, he finally returned when Nelson Mandela was released from prison over 20 years ago.  Hugh has been making music for a long time!  His music is filled with hope, vitality, and defiance.  Things that would threaten any government based on racial discrimination.  It’s hard to be fearful and anxious when listening to Hugh Masekela.   

As a living legend, you also get to play with the best in the biz.  HM was accompanied by some of the most talented cats around at Tuesday’s show at the Miner Auditorium- where, by the way, there isn't a bad seat in the house.  His guitarist, keyboardist, drummer were all ear-opening impressive.  When he puts down the flugelhorn, Hugh also plays a mean cowbell.  Who knew?  More cowbell !  In addition to the unanticipated and welcome sense of humor throughout the performance, I also really enjoyed his tribute to the Bobs:  Masekela performed Dylan’s “It’s All Over Now, Baby Blue” and Marley’s “Soul Rebel.”   The love felt for Hugh was palpable in the Auditorium including when the crowd burst into a spontaneous round of Happy Birthday in anticipation of his upcoming 75^th birthday.  

One highlight was his classic 1968 hit, Grazing in the Grass.  

Sly Stone: The Man Funktastik

Undercover Presents

Sly and the Family Stone

Stand!

The Independent

San Francisco, CA

January 18, 2014

Sly Stone: The Man Funktastik

Epic show with about a million talking points that I can’t possibly cover!  Every band was funking fantastic!  From the opening Awesome Orchestra's uplifting and empowering Stand! to the final funk and soul note!  Undercover Presents, in no time at all, has become the Must-See shows of the Bay Area music scene.  If I were a musician in the Bay Area, I would be begging to be a part of any UP.  Undercover presents a classic album song by song, each one performed by a different Bay Area artist.  Not only does this showcase some of the best musical talents of the San Francisco area, it allows the musicians to showcase their love for some of the greatest tracks of all time.  See, e.g., the longer review of Joni Mitchell’s Blue.  The tribute to Sly’s Stand! was equally exceptional.  The show was super octane charged, each band trying to out-do the previous one culminating in a frenetic funk and soul free for all when the musicians all joined together for “Dance to the Music.”  The best show of the past year and why I love live music.   Huge Show, Huge Night.

A little taste:

Thievery: Better Luck Next Time

Thievery Corporation

The Greek Theater

Berkeley, CA

September 21, 2013

Thievery: Better Luck Next Time

The last time, MV&R visited Thievery Corporation, I was blown away by their next generation, multiethnic, multigenre vibe of celebration.  They played a great show at the Fox Theater that made me optimistic for the future of music while living in our dismal world of Justin Biebers and Miley Cyruseses.  There was still integrity and art in music somewhere.  Too bad, that couldn’t last.  This time around, the band sounded older and dated.  Only took a couple years for the bloom to fade.  They also played virtually the same show, song for song, as they did over a year earlier which disappointed and made the future of music seem less secure.  The main problem seems to be in the rotating crowd of singers upon which Rob and Eric, the essential duopoloy that is TC, rely.  They are overly dependent on the singers making good.  This time, their voices were frequently weak and they simply failed to connect as they did at The Fox.  I still have great hope for TC but it was not their night.

Outside Lands: VIP-ing

Outside Lands

Golden Gate Park

San Francisco, CA

August 10, 2013

Outside Lands: VIP-ing

Yes, it is that time of the year where it’s difficult to see a top music act without attending a mega-multi-day music-fest.  The mega-multi-day music-fest was designed for 20 years old with more money and more time and more drugs than they know what to do with.  It’s now become a fact of summertime for most major cities to have some kind of music-fest, normally with a goofed up, alliterative/onomatopoeia-sounding name that locks up talent for months in advance.  These fests pretty much suck all the oxygen out of the music scene for weeks and then blow into town like a hurricane.  Chicago has Lollapalooza, LA has Coachella, New York has The Governor’s Ball, Tennessee has Bonnaroo and San Francisco has Outside Lands.  I last visited the great Outside Lands fest in 2010 but decided to VIP it once again this year.  VIPing is the adult way to see a music fest, kind of like riding Business class, once you go VIP, you don’t go back!  Vanilla smelling RVs for port-a-johns, free massages, special food concessions and separate viewing sections allow you to get much closer to the action without squeezing between some drunken louts from Fresno or squealing sorority girls from LA.

Unfortunately, Saturday’s schedule included many conflicts of acts performing at the same time that I’d like to have seen so this review includes what time, energy and other vagaries allowed me to attend.

Gary Clark Jr.

After a short limo ride from downtown SF, the day started with Gary Clark Jr.  A blues master extraordinaire who’s got some major buzz going right now.  Think Stevie Ray Vaughn.  But young, black and hip.  If you don’t like Gary Clarke, you don’t like the blues and why are you even bothering to live?  Buckets of talent and quite a lot of fun.  A good way to ease into the day but a high standard for later acts to follow.  GC Jr played at Land’s End stage, the Big One that the other three stages could fit inside comfortably.  For a taste of Gary, check out  Ain’t Messing Round.  Even better, go see the real deal when he returns to the Bay Area to play the Fox Theater in Oakland on October 2.  I'll be there.

Mother Hips

It’s amazing that a music fest in San Francisco would not feature more hippie jammy jam-bands.  The graying hippie crowd largely had to make do with Mother Hips.  Thankfully, they were quite rocking, quite jamming, quite fun and hit just the right spot in this old hippie heart.  Mother Hips played the smaller Panhandle stage which was nicely intimate and allowed more breathing room and getting down room.  Mother Hips are a talented ensemble that has been around and back and know how to entertain a crowd.  I should probably mention at this point that the sound quality at all Outside Lands stages was fantastic!  The sounds guys were absolutely top drawer.

The Head and the Heart

On to the folk-rock portion of the show.  It was nice to have a little mellow break late in the afternoon before moving on to the Headliners.  My day was developing its own rhythm that was quite nice.  The Head and the Heart are playing in the same uber-popular territory as many folk acoustic indie bands, a la Mumford and Sons, Lumineers, Blind Pilot etc.  I don’t know how this genre suddenly became popular, it’s a bit of a mystery.  The Head and the Heart played at the Sutro Stage, a slightly larger venue than the Panhandle and were enthusiastically received.  Check out Lost in my Mind.

Phoenix

Last Band.  In the distant fog behind us, I could see the lights of Nine Inch Nails on the Land’s End stage but, in front us, Phoenix played a tight set of enjoyable pop songs.  There is really no better pop band on the market today than Phoenix.  The songs are catchy, hook-laden, intelligent, fun.  And that’s what they did at Outside Lands.  However, sad to admit, the set was a little bland.  I had to keep reminding myself not to be too disappointed because they’re just a pop band after all.  I guess my expectations were too high.  They rearranged some songs but, by the time I left, I felt I could have had the same musical experience by putting on a Phoenix Spotify songlist and turning the volume up high.  Fun but I was expecting more. 

Still, overall, a great day.  Bottom-line: will I return to Outside Lands?  Yes, but only under VIP conditions.

Robert Plant: The Gold Standard

Robert Plant and the Sensational Space Shifters

Greek Theater

Berkeley, CA

June 29, 2013

Robert Plant: The Gold Standard

Photo by Jana L.

Robert Plant is the gold standard by which all other rock and roll cool is measured.  The former front man of megasuperband Led Zeppelin struts and prowls across the stage like a cat ready to pounce.  Even his advancing years have not slowed him down and have not changed the megasupercool of his expressive voice.  He howls, he screams, he croons.  OK, maybe some of the screaming has been reined in.  However, if anything, he seems a better singer now.  Also, he has not let the megasuperlegacy of The Zep weigh him down. He continues to explore whatever music captures his imagination.  Many of the older Zep tunes that he played on Saturday were completely reworked and not immediately recognizable until he began singing, e.g. “You need cooling, baby, I’m not fooling.”  And then the band and fans would proceed to rock out.  This added an air of unpredictability that kept the audience on the edge of their seats waiting for the next song.

Photo by Jana L.

Last night was a beautiful, rare warm evening in Berkeley, a perfect night to be at the Greek Theater and Robert was In the Mood to party.  To be honest, some of the reworkings of the Zep-tunes were reworked better than others and the more faithful renditions were the highlights of the night, including “Going to California,” and “What is and what should never be.”  Though, all of the songs sounded bigger and more open when played live in the warm summer night.  In fact, the only thing missing was the raw energy of Jimmy Page’s guitar.  The prospect of the reunion rumors coming true next year would be Zeppelicious!  Bobby P opened the night with “Babe I’m gonna leave you” and went on to play “Friends,” “Whole Lotta Love” and “Black Dog.”  He also included almost unrecognizable psychedelic versions of the old blues classic "Spoonful" and the old folk classic, "Satan Your Kingdom Must Come Down."

Last year, Led Zeppelin was honored at the Kennedy Awards for their 12 years of sheer awesomeness before the tragic death of drummer John Bonham ended the band prematurely.    (Though the tribute is 20 minutes, it is well worth watching for Zep-heads)  While fellow British bands, the Beatles and the Rolling Stones, may claim greater popularity, few bands have been as influential as Led Zeppelin.  Led Zep albums, to me, always seemed at least a step or two above those bands in terms of poetic and artistic ambition and accomplishment.  The Beatles and the Stones were mere pop bands while Led Zeppelin was Rock and Roll.  There was always a chaotic edge to their songs that was dangerous and complex and full of sheer awesomeness.  And, last night at the Greek, Robert Plant recaptured much of that excitement and beauty.  Definite contender for show of the year.

BSSB: Love Yo Mama

Banana Slug String Band

Henry Brother’s Vineyard

June 2, 2013

Angwin, CA (near St. Helena, Napa, CA, in case you didn’t know)

BSSB: Love Yo Mama

On Sunday, world-renowned and award-winning and children’s eco band, Banana Slugs String Band, played a benefit for St. Helena Cooperative Nursery School on a mountain top in Napa.  SHCONS is a parent-run, not-for-profit preschool in St. Helena that believes children learn by play.  Plenty of parents in tie-dye telling their kids to share the organic pretzels.  Even though The Wiggles and the Fresh Beat might get all the children's rock press, really the Banana Slugs was the perfect band for the occasion and obliged by playing all their greatest hits including: “I am a Tree” and “Dirt made my lunch.”  OK, technically it was only two members of the Slugs but it was like Mick and Keith, John and Paul or Robert and Jimmy.  You know, the good two.  And even though the rest of the band were taking a breather, the BSSB still included their infamous giant dancing starfish.  Although BS has been around for some time, there’s always a child somewhere learning about the beauty of the natural world and who is ready to dance like an animal or pretend to be a tree or a moose.  The slugs also included a medley of Dancing In the Streets and Will it Go Round in Circles which had just about the entire crowd on their little feet. And the setting for the concert was idyllic: in the middle of a vineyard.  I may not seek out the Slugs on a regular basis but if you want to instill some respect for Mama Nature in your youngin's, not a bad place to start. 

Junip: Swedish Invasion, part 2

Junip

Bimbo’s 365 Club

San Francisco, CA

June 1, 2013

Junip: Swedish Invasion, part 2

Junip is a mostly, if not entirely, Swedish outfit that plays melancholy folk/rock/psychedelia.  The sound is fairly unique though the songs tend to blend together and their flat studio efforts don’t quite capture the energy and musicianship of their live performance.  At Bimbo’s on Saturday night, they frequently sounded like an American jam band riding the groove which was all good fun and a bit of a surprise.  The only real problem was the late starting time.  After a couple of blah opening acts that haven’t quite found their voice, and after a long, extra warm day in the Bay Area and a

filling, but tasty, meal at Panta Rei in North Beach, my compatriots and I were not particularly inclined to party late into the evening, even on a Saturday.  So, we left mid-set.  Still, Junip is another Swedish group to watch, if for no other reason, because of bandleader Jose Gonzales’ entrancing songwriting.  (He is also famed for ‘Heartbeats,’ the track to one of the best TV ads featuring SF).  Jose has a rather plaintive delivery that can sound both intimate and like he’s singing from some distance away but is certainly one of a kind.  Hopefully, their next studio effort will better capture the live sound. Also worth noting, the show was my first visit back to Bimbo’s in quite a few years, it is one of the lesser known jewels of SF venues that I’d like to frequent much, much more often.

Track to check out: Line of Fire

The Rolling Stones

The Rolling Stones

Oracle Arena

Oakland, CA

May 5, 2013

The two main narratives regarding the Rolling Stones’ 50^th Anniversary tour are: 1. Man, those old guys are old and 2. Man, those pricy ticket prices are pricy!  Never let it be said that critics don’t grasp the obvious.  Yes, those guys are old, it’s their 50^th anniversary tour.  That’s 50 years, not 50 days.  The Rolling Stones were touring the US before I was born.  Mick Jagger &Co. were a fact of life from when I was learning to crawl.  And, yes, $2000 for VIP tickets is a lot of money.  Good thing it was my birthday and I have a girlfriend who likes to rock!  Actually, we didn’t pay $2000 ($86/song) or $1500 for the tongue pit in front of the stage ($65/song) or even $600 for the floor ($26/song) or even the lowest price $175 tickets since they were all sold out.  Instead, we joined the lottery for $85 tickets ($3/song).   The lottery system could be an entire blog post on its own; suffice to say we didn’t win the lottery and were ensconced rather high up in the arena.  But we could see fine and it was The Stones and it was My Birthday.  So, party on, Garth!

So, yes, the Rolling Stones are old guys.  Older than the US Supreme Court.  Though I don’t know anyone who would pay $2000 to see Antonin Scalia do the rooster.  For old guys, they are more than a little spry.  Mick Jagger has got the moves like Jagger.  He’s got the moooooves like Jagger.  Mick’s dance style with seal claps, and jabby pointing and spinning has always vaguely resembled an old guy trying to get down and now he actually is an old guy getting down.  He scampered back and forth across the stage and around the catwalk nonstop.  It’s no small accomplishment for him to sing at the same time and with the same defiant and teasing voice as when he was 20. I was tired just watching him.  

I also don’t know how Keith Richards is still standing but he is.  At times, he seemed to teeter precariously close to just collapsing on stage.  And his playing certainly isn’t what it once was.  Thankfully Ronnie Wood is back with the gang and can still play a mean guitar.  Of course, KR’s main contribution to The Stones’ history has always been the unforgettable hooks and he can still provide that.

Tom Waits and the Stones

Mick Taylor returns

Also joining The Stones on stage was Tom Waits for Little Red Rooster.  Let me repeat that:  Tom Waits joined RS for Little Red Rooster.  Awesomeness!  Many people can’t handle his very gravelly voice but it was perfect for the tiny scarlet fowl.  And his appearance was probably the highlight of the night when they played a number of less known bluesy tunes.  One more much anticipated guest joining in the fray later in the show was former Stones guitarist Mick Taylor who kind of wandered around the stage a little lost but was enthusiastically greeted by all the band and the audience.  It would have been great to have guests throughout the night.  

There was a monster screen behind the band that was used well: showing videos, live shots and, at one point, a montage of old R&B artists that influenced the Stones during their 50 years.  It’s hard to think of a current band that could do the same.  Will Vampire Weekend or My Morning Jacket be playing shows after 50 years?  I doubt it.  There are plenty of acts past their prime playing Vegas, locked in a time capsule performing parodies of themselves, but The Stones have avoided that trap.  Their longevity is a testament to their once in a generation quality.  There will never be another Rolling Stones.

There isn’t much that can be said about the Stones that hasn’t been said.  Many of their songs have been overplayed by FM radio which is understandable because they are rock and roll canon.   At Sunday’s show, they added new life to one big hit after the next including Gimme Shelter and Brown Sugar and Sympathy for the Devil and You Can’t Always Get What You Want and Tumbling Dice.  The 50^th Anniversary tour has all the hallmarks of a farewell tour and the band seemed in some ways to recognize the unlikelihood of another outing when taking their curtain call, savoring the cheers and each other's company.  Having accomplished all they have and survived this long, I can only say, well done, lads.

Los Amigos Invisibles: Fun, Fun, Fun

Los Amigos Invisibles

The Fillmore

San Francisco, CA

April 24, 2013

There aren’t many bands more fun to see live than Venezuelan band Los Amigos Invisibles.  Los Amigos play Gozadera music which translates as Merrymaking or Good Times music which is definitely true. They put a lot of effort into their shows which are one long party.  There is a lot of energy between the audience and the band.  No one stands still at a Los Amigos show.  There are no ballads, no breaks.  There is barely a pause from one rocking, funking, discoing, latin rhythm dance song to the next.  They come on stage, hit the groove and the party starts.  Any band that has been around for 20 years is going to know how to play and that is definitely true of Los Amigos.   For a taste, check out: Mentiras, Diablo.

Simon: Piano Recital

Simon Trpceski

Hertz Hall, UC-Berkeley

Berkeley, CA

April 14, 2013

On a brilliant sunny Sunday afternoon, it is not easy to lure people into a quiet UC-Berkeley hall to listen to a solo performance by a classical pianist- even if he is one of the burgeoning talents of his generation.  Simon Trpceski has played with the finest symphonies in the world and been honored everywhere he goes.  In his homeland of Macedonia, they even had to virtually create an award for him, “National Artist of the Republic of Macedonia.”  On April 14, he performed Schubert’s German Dances and Fantasy in C major.  Both pieces were filled with lots of arpeggios- which are probably fun to play and show off his impeccable technique.  But when he reached the adagio of the second piece he demonstrated both his mastery and the sublime beauty of Schubert’s composition.  Simon is well known for his very expressive style of playing and could be mesmerizing just to watch .  Of course, most of the audience was waiting for the well-known Hungarian Rhapsody No. 2 by Liszt that ended the program.  Simon also played three generous encores which were well-received.  In fact, the only flaw in the whole program was the inexplicable inconsiderateness of one audience member that drank water from a plastic bottle and loudly unzipped her purse which earned her a scowl from Simon.  Still a magnificent performance from a serious talent.  Check out Lizst’s Hungarian Rhapsody No. 2.  

Alt-J: Indie Ambition

Alt-J

The Fillmore

San Francisco, CA

April 10, 2013

Alt-J only has one album in the books but is already scheduling tours at some of the biggest theaters in the country.  They are a much heralded and impressive British band in the mold of granddaddy indie band Radiohead.  There isn’t much else to compare them with- except maybe all the other bands that are trying to copy Radiohead.  I was impressed with their musicianship and ambition but I also thought that the band tended towards over-elaboration and cleverness for the sake of being clever.  It is nice to hear a band taking chances and the crowd clearly appreciated their musical skill but, at the end of the night, I left feeling excited and dissatisfied at the same time.  Their performance reminded me a bit of Minusthe Bear, all brain  

and no heart.  Still, they do know how to play even if their eccentric sound might not have mass appeal.  The performance was understandably short with only one album which I think is always a bit of a rip.  If you don’t have your own songs, you should throw in some others that you enjoy.  In the 1960s, when rock and roll was learning to walk, bands would play 20-30 minutes but those days are over.  It also doesn’t cost $5 to see a band anymore.   Bottom line: Alt-J is another new band to watch, it will just be a matter of time to see if they can live up to the hype and the acclaim.  

Afropop Party: Oliver and Fatoumata

Afropop

Oliver Mtukudzi

Fatoumata Diawara

Zellerbach Hall

Berkeley, CA

March 30, 2013

As has been proven by previous postings, the Cal Performance series rarely fails to deliver and it rarely fails to rain when I go to one of their excellent shows.  And the evening of Afropop did not disappoint on either account.  The evening of all things African began with Malian Foutmata Diawara.  Her recorded music is kind of an African folk music with Afrocubist beats which is really a joy to listen to.  It makes me feel like I’m in Africa just by listening to it.  However, her live performance was much more energetic.  She spun and danced around the stage like a whirling dervish demonstrating the national dance style of different African countries, much to the delight of the Africans in the audience.  If there is any complaint about Fatoumata, it’s that she was too energetic and got the crowd too riled up before the more mellow stylings of Oliver Mtukudzi. Check out:  “Bissa” for an example of her amazing voice.  Go to 9:00 of the next link to see Fatoumata compare African dancing styles 

 

Oliver Mtukudzi is a national hero in Zimbabwe.  He plays a wonderful acoustic-based music that is hypnotic.  He really lets the groove flow during his music in a quiet but powerful way.  While Oliver’s music is very uplifting and just plain happy, it is not the same foot-thumping dance music of Fatoumata. The audience was up and ready to dance when Oliver got on stage but his music seemed too mellow for an audience ready to partay.  However, both Oliver and Fatoumata are class acts and if you’re interested in hearing what today’s African music is about, they are a good place to start.  Check out: Ndagarwa Nkaha  

Mariza: Reviving Fado

Mariza

SF Jazz Center, Miner Auditorium

San Francisco

March 15, 2013

Senior Correspondent: Jana L.

Mariza has swept the world with her revival of fado, the Portuguese blues style of music, with a voice as impressive as the range of an opera singer.  Mariza blends the traditional fado with African and samba rhythms inspired from her travels to the former Portuguese colonies such as Brazil, Angola, Mozambique and Cape Verde.

Mariza's astonishing voice travels right to the core of my soul. Her art expresses longing with such passion and playfulness that it is impossible to turn away from her music.  I can imagine tourists walking by a tavern on the narrow streets of Mariza's home quarters of Mouraria in Lisbon, Portugal hearing her voice and wanting to linger in a mesmerized state.  Many of her fans probably recall the first time they heard Mariza sing. I remember exactly when it happened to me.  My brother played her music while we were closing down my parents’ home.  And I needed to know immediately who was singing.

Mariza treated San Francisco to sold out performances four nights in a row last week at the Miner Auditorium, the new SF Jazz Center.  She appeared through dark purple lighting and entered the stage at first with a slow sway, standing exceptionally tall in a long sparkling gown, then just looking out at us all with amazement.  It was as if she had met us before and wanted to reconnect. It seemed that this was not just another tour stop for her.  She said how much she loves San Francisco as it reminds her of home, the bay, the hills. Her graceful beauty did not strike until the Portuguese guitar started playing and she began to shape the poetry of fado with her stunning voice and lively expressions from her hands and face. 

 

She is able to strike a romantic and tender chord with such caring focus that it evokes emotions filled with both despair and relief.  I was moved to tears by her performance. Even though, I don’t understand Portuguese, it is possible to find solace in the longing lyrics. How does her heart hold that much passion in performance after performance?  In between the songs she was teasing and joking with her band members and the audience and told stories of her new marriage and motherhood.  Her own life appeared more joyful than the sorrow of the fado she sang.  She also said that she wanted to sing fado before she could read and fully understand it. Her father drew cartoons of the poetic fado songs to help her sing at only five years old. 

Her talented band consisted only of: 12-string Portuguese guitar player, classical guitar, bass guitar and a percussionist yet were able to create a multicolorful world in the music.  Their generous encores continued into the late night.  She is simply remarkable, the most popular modern fado singer in the world!  She gave us all a fantastic evening and for a little while took me away to Lisbon.

Songs to check out:  Primavera (which she called her favorite of song of the late Amalia Rodrigues, Queen of Fado and one of Mariza's idols), Beijo de Saudade ("Kiss of Longing," a song recorded with Tito Paris of Cabo Verde which she performed without him), Barco Negro.

ABBA the Concert: Meta-ABBA

ABBA the Concert

Regency Ballroom

San Francisco, CA

March 10, 2013

ABBA the Concert: Meta-ABBA

It’s a dilemma.  When reviewing a tribute act, do you review the source material or the tribute?  How can I review ABBA the Concert without discussing the relative merits (or lack thereof) of ABBA?  Certainly, both ABBA and A-the-C were in turn cheesy, catchy, fun, compelling, touching, ridiculous, sublime, trite, earnest.  It’s amazing that a band, that has been essentially defunct for over 30 years, can inspire enough devotion for several hundred people to show up to see essentially an historical re-enactment.  However, ABBA’s songs are so well-crafted and catchy, I could see ABBA the Concert continuing to be performed for new generations to come.  Of course, most of the members of ABBA the C were, at best, in diapers at the time of ABBA’s heyday- with the exception of the bass player who had actually been a member of ABBA and, though often in the background, was very clearly a high caliber player.  Still the remaining members of A-the-C were not slouches.  They are definite fans and their re-creation was certainly enthusiastic.

Of course, most people are aware that ABBA is one of Sweden's most proud exports and going to ABBA the C with your Swedish girlfriend is a unique experience.  Not many know that Waterloo was originally performed in Swedish nor can sing along with gusto nor do many know that Dancing Queen was first performed for the royal couple in Sweden.  If you think that ABBA was popular world-wide that is a drop in the ocean compared to the Swedish hysteria for ABBA in the 1970s where every little girl fancied themselves an Anni-Frid or Agnetha.  Appropriately enough, ABBA the C is also fronted by four Swedes.  However, if you think the audience at ABBA the C was just Swedes and their reluctant boyfriends or gay men, not quite.  ABBA may have been from Sweden but they have long been claimed by the rest of the world as their own and the audience was very diverse.  

ABBA the Concert broke no new ground but that was entirely the point.  From the outfits to the songs to the wigs, this was strictly a nostalgic show.  But ABBA the Concert definitely showed great respect for the source material and performed fairly faithful renditions of most of the biggest hits.  They performed particularly energetic versions of Mama Mia, Take a Chance On Me, and Does Your Mother Know?  There were plenty of opportunities for sing-alongs and the crowd was quite excited to participate in this celebration of ABBAtasticness.

The original ABBA

ABBA songs can sound dated at times but listening to them live brought them to life so that they almost sounded current.  One thing that struck me was how many of their songs have sad lyrics which belies the stereotype of the band’s upbeat, light-hearted melodies.  Songs like Name of the Game, Fernando, and Chiquitita are all filled with poignant longing and uncertainty in relationships.  These songs were mostly featured early in the first set.  The second set resembled the light-hearted rom/com musical hit Mama Mia much more.  Then, Sunday’s show became a party, maybe in part due to it being the final night of the tour, the band seemed determined to just have fun.  And of course, that’s what you want when going to an ABBA tribute.  Nothing deep or meaningful just a good time, and that’s what the concert was.

Side Note:  On the way home, JL and I checked out the new art installation- the Bay Bridge Lights and (no pun intended), it is spectacular.  I'm envious of people with a Bay Bridge view.  If you haven't already, go see the light!