BEST of 2017: Flaming Lips – “Never Doubt The Rainbow”

Wayne Coyne and merry pranksters The Flaming Lips create day-glow art out of artifice in an all-comers party in Washington DC on the heels of their strongest album in years.

I’ll be honest right up front – over the 30-plus years that I’ve known about the Flaming Lips I’d liked and loathed them in equal measure.  From their ragged early years as an Oklahoma-based indie band through to their early 1990s alternative breakthrough with “She Don’t Use Jelly” to 1999’s unlikely fluke hit “Do You Realize?” and their commercial apex during the early 2000s, I could never quite tell whether the Lips, and leader Wayne Coyne in particular, really believed what they were putting out or whether they were putting one over on the audience.

It’s the problem that I’ve often had with self-consciously “arty” projects, whether in music, art, theatre or literature. I tend to prefer Serious Music by Serious Musicians, who in my mind are usually distinguished by their all-black outfits (with flannel as an allowed exception), dour music and sour expressions.  I have trouble trusting music made by people who by mocking their music, and who actually seem to be having fun (!) playing it, seemed to me to be mocking their audience along the way.

After seeing the Flaming Lips at the 930 Club in Washington DC on their Oczy Mlody tour, though, I’ll never think that way again.  On a recent interview on the “Nerdist” podcast Doc-Brown-coiffed bandleader Wayne Coyne described the experience of how much nicer it is to have someone scratch your head than to scratch it yourself, and I suppose having your brain scratched by a lover is as apt a metaphor for a Flaming Lips show as I can come.

The Flaming Lips’ shows are not really a concert in a conventional rock sense, they are a Communal Event Shared By Like-Minded People, a party where the hosts just happen to be playing music for a couple of hours. Their albums don’t even begin to scratch the surface of the wild party that the Lips throw on stage.

From the opening salvo at the introductory “Race For The Prize” where they blew the giant confetti cannons spraying the crowd and releasing two nets filled with giant beach balls onto the crowd (that managed to stay inflated for about half the show) you know that you’re in for as much spectacle as music.  Every song has a visual setpiece and most have props. Here are a few examples…

The secret weapon is the see-through curtain created at the front of the stage by a draping of beaded ropes that are multicolored and segmented to create a different mood for each song while still allowing you to see Coyne, who appears as part shaman, part wild-haired Professor, and part Dr. Who, who goes through multiple outfit changes as the show goes along, and while the rest of the band keeps to the background of the stage.

No Lips show is complete without outrageous props, and there were two at this show.  At the start of the third song, the pulsing, throbbing, totally-engrossing “There Should Be Unicorns” Coyne disappeared from the stage and there was an extended instrumental guitar intro where you could tell that something was brewing.  Then out of nowhere from off-stage-right, Coyne rode right through the crowd near the foot of the stage astride a giant mechanical unicorn, nearly trampling some of us in the process. You need to keep your head on a swivel at a Lips show! Coyne rode his mechanical mount to the middle of the floor and sang to the balcony and then rode it back off-stage as if it was just the most natural thing in the world.

What really changed my view of what Coyne was doing was seeing up close the beatific joy on Coyne’s face while he was singing. Here was a man in his 50s in an outfit that even Willy Wonka would suggest was a “bit much, really” riding a giant mechanical contraption and earnestly singing a song about why the world would be better if it contained unicorns, and I could see that he was absolutely committed to a truth he was seeking in the song and a conversation that he was having with the Universe.  He may have been riding a mechanical horse with a horn bolted to its head, but it was clear that this was not bull to him.  It was absolutely endearing to see how much he believed in what he was selling.

My camera-phone malfunctioned during this sequence after getting run over by the unicorn but you get the idea of what it’s like below…

After that, I started to look for the truth under the artifice, and I started to realize that the props, visuals and distractions were all intended to disguise the deep emotion in some of the songs.  Coyne went as far as to drop the mask for one intro when he said, paraphrasing, that he wanted us to all enjoy the party, the lights, props and other distractions, so that the seriousness of the song lyrics wouldn’t make us sad.

Many of the lyrics are so personal or elliptical that I honestly didn’t quite get it all, but I could tell that he meant them and some had real emotional impact on him.  On one song, where he was wearing an absurd hoodie with flesh-colored protuberances, he drew the hoodie down as tight as he could and you could actually see through the strobe-curtain that he was crying while he sang.

Then came my favorite part of the show.  At the start of a faithful cover of Bowie’s “Space Oddity” a couple of techs started inflating a giant plastic bubble. The long-time faithful (along with the rest of us who’d seen the clips on You-Tube) all knew what was coming but you could hear audience members around buzzing “You don’t really think he’s going to…No, he can’t possibly…is that thing safe?”.  Sure enough, when the bubble finished inflating Coyne got inside and nonchalantly zipped himself inside (“nonchalantly” being the only acceptable way of zipping yourself inside a giant inflatable bubble) and at the appointed time he just rolled off the stage onto the arms of the waiting crowd in perhaps the most unusual demonstration of crowd surfing that I’ve ever seen.

As with the unicorn, he rolled himself completely over the audience to the foot of the balcony, and sang the balance of Space Oddity as if world peace depended on it.  When he’d had enough he rolled his way back up to the stage and climbed out of the bubble as if it was the most normal thing in the world.

Here’s something that should be on everyone’s bucket list to see once….


Not everything went smoothly. During one song midway through the set, there was a giant painted rainbow prop that was supposed to ascend from beneath the stage being pushed up from below by two stagehands.  In what looked something a bit like an outtake from “This Is…Spinal Tap” the rainbow got stuck partway and you could see the stagehands furiously trying to set it free. After a good 30 seconds of working with the rainbow, it finally loosened and ascended to its rightful place framing the song right before the end.

In the end of the song Coyne gave a little impromptu speech about how what we had just witnessed was a metaphor for life, in that because there was truth and beauty available in life that each of us owed it to the Universe to never give up seeking for that truth and beauty in the trash around us.  He ended the oratory with a sweet and plaintive entreat to  “Never doubt the rainbow, man…” at which point my stony heart finally melted and I gave in to the rest of the experience.

I’m still not sure that all Artifice is in fact Art, just as I’m not convinced that metaphorical truths are deeper than straightforward truths. I will however agree with Hamlet’s words: “There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy”…

If you can’t see the Flaming Lips on tour, be sure to stream/download their new album Oczy Mlody (Polish words that Coyne pronounces “Oatsie Melowdy” and which literally stands for “Eyes Of The Young”).  In a world where it seems like there are only six different songs right now, each recycled hundreds of times, this is unique music coming from a single vision.

Never Doubt The Rainbow, man.


Set List

  • March 5, 2017
  • Washington, DC, USA
  • 930 Club

Main Set

  1. Race For The Prize
  2. Yoshimi Battles The Pink Robots, Pt. 1
  3. There Should Be Unicorns
  4. Pompeii Am Gotterdammerung
  5. What Is The Light?
  6. The Observer
  7. How??
  8. Space Oddity (Bowie cover)
  9. Feeling Yourself Disintegrate
  10. The Castle
  11. Are You A Hypnotist?
  12. The W.A.N.D.
  13. A Spoonful Weighs A Ton


  1. Waitin’ For A Superman
  2. Do You Realize?



Tearing A Hole In Heaven – Explosions In The Sky live in Tucson and Denver on “The Wilderness” Tour

Explosions In The Sky ignite the atmosphere in amazing shows in Tucson and Denver.

I often wonder about the magic of sound.  It’s said that David was able to sooth the savage beast with his harp, and we have all been moved to both ecstasy and agony by songs that are able to invoke strong feelings and emotions in us.

But what is music?  Music is just combinations of soundwaves at certain pitches and intensities, put together in repetitive rhythms and in either harmony or dissonance.  Broken down, music is just patterns of airwaves.

And yet we all know that music is far more, has to be more, than that. Simple airwaves would not be able to remind you of the night by the lake under a cloudless sky and full moon where you declared your eternal love for your first real girlfriend.   Simple airwaves would not be able to remind you of the depths of the darkest nights of your life and put you immediately back into the despair of those moments at the sound of certain chords and voices.

Music not only reflects emotion; music can create emotion and pull you into feelings.  Music establishes passion and pain, and creates its own existence.  Music is a time machine for memories.

Almost every important moment of my life is tied to music of some type, and it brings me back to thinking about sound.  As I write this, I’m riding jumpseat in a US Air Force C-17 transport plane, and every sound in it is of restlessness and ugliness, from the roar of the wind and the clank and clatter of the equipment aboard groaning under stress. It makes my spirit unsettled, and yet just like music it’s only airwaves of certain combinations of pitch and rhythm, timbre and tone.

Which brings me to two of the most amazing sonic experiences of my life involving seeing the band Explosions In The Sky on their current “The Wilderness” tour. My first time seeing them was in Tucson, AZ at the Rialto Theatre on 2016-05-02. I don’t remember ever having seen anything like it, and it affected me so much that I ended up going to see them the subsequent week at the Ogden Theatre in Denver, CO on 2016-05-11.  I see so many shows that at this point it takes a lot to surprise me but these guys really shook me to my core.

There’s really no other band I can think of that’s hit the American public radar that is comparable to Austin, Texas based Explosions In The Sky. EITS has no singer; rather they front three guitarists of considerable skill and an amazing number of pedals (Michael James, Mark Smith and Munaf Rayani) who each alternate leading and combining in a way that’s really unlike anything else around.  There are other instrumental rock bands (Mogwai is the obvious reference point) but EITS mines a different musical vein than other instrumental rock bands that I’ve heard.

EITS guitar lines and figures loop and interlock, sometimes combining and sometimes opposing, in a majestic symphony that is like a single 100-minute symphony in 25 movements. The music is angry and violent and then on a dime will wheel into a gorgeous whispered lullaby of repeated figures and melody in a way that is trance-like and hypnotic.

Through seven studio albums (including the recently-released “The Wilderness” that provided the namesake and focus of the current tour) EITS has really fleshed out their sound but nothing preps you for the dramatic impact of their sound live.

Here’s an example from the Denver show:



In both shows, there were moments of martial metal madness that would then be tempered by musical movements and interludes that were so delicate and fragile that they disappeared before your eyes like mist being evaporated on a spring morning.

Because they don’t have a singer to distract the audience, their music isn’t absorbed by your conscious but rather immediately goes into your subconscious, lulling you into a trance state.  They serve that premise by never stopping to talk to the crowd or break for an encore.  No forced stage patter or annoying stagecraft to stall for time during the show: they come on stage, pummel your body and mind with music, drilling your soul with soundwaves and then walk off.

Like the best of drone blues or Saharan blues, EITS do an attack-and-release style of playing, where the tension gradually builds with the sonic structure until you physically feel like the constriction is suffocating, and just at the point where you start to feel physical discomfort, the music resolves and relaxes in a way that releases both your body and spirit.   It’s a great trick that they do, and I wish I could find a way to bottle it.

A couple of times, I had an experience that I don’t actually remember ever happening before at a concert, where each of the guitarists played a different, weaving melody that when interleaved with each other like waves created a fourth, distinct melody out of the three disparate parts.  It was so startling that it awoke me from my reverie just to stare in wide-eyed amazement at what I was hearing and seeing on the stage.

EITS are something that you have to experience live. Their albums can’t possibly do justice to their live set, where the highs and lows can sear themselves into you in a way that studio albums can’t possibly do.

Ably backed by a skronking rhythm section of Chris Hrasky on drums and touring bassist Carlos Torres, each of the musicians is a virtuoso but I want to focus on guitarist Rayani. All three of the guitarists slowly weave and groove as they play but it’s Rayani that you can’t take your eyes off of – he’s one of the most compelling guitarists to watch that I’ve ever seen. He loses and loosens himself completely into the music in a way that invites you to climb into his brain with him as he plays.

Just check out the clip below, also from the Denver show.  It’s a long one so if you have to jump to the 5:00 mark I’ll understand. I’ll wait while you watch.

Now was that something or what?

I guess in the end it doesn’t really matter what music consists of, and the mechanisms by which it works on the mind, body and soul are probably better left a mystery. It only matters that music exists, and that each person experiences the truth in their soul that can only be brought out by music.  Music is part of what it means to be human, and a part of what it means to be alive.  I still assert that what humans are best at is music, science, architecture and war, and that the best thing that recommends continued human existence is music.

Here are some clips from the Tucson show followed by the setlists for both shows.






  1. Tangle Formations
  2. The Birth And Death Of The Day
  3. With Tired Eyes, Tired Minds, Tired Souls, We Slept
  4. The Ecstatics
  5. Greet Death
  6. Let Me Back In
  7. Disintegration Anxiety
  8. Colors In Space
  9. Six Days At The Bottom Of The Ocean
  10. Logic Of A Dream
  11. The Only Moment We Were Alone



  1. Infinite Orbit
  2. Tangle Formations
  3. The Only Moment We Were Alone
  4. Greet Death
  5. Logic Of A Dream
  6. Let Me Back In
  7. Disintegration Anxiety
  8. Colors In Space
  9. The Birth And Death Of The Day
  10. Memorial

Gig Review – CHVRCHES – Glasgow – 2 April 2016


Remarkably, Chvrches hadn’t played their home town since 2014 (they’ve been too busy literally touring the world). Back home for one night only, they played at the massive Hydro arena, which goes to show the meteoric rise in their popularity in a few short years. Though Chvrches may be only a few years old, the three band members have been around the business a long time and singer Lauren Mayberry makes a point during the show of rhyming off the many bands they’ve been part of over the years with varying degrees of success.

Supported by Shura and The Twilight Sad (a past band of Martin from Chvrches) the crowd were well warmed up for the arrival of Chvrches.


Never Ending Circles opens the show with its massive riff. For a brief moment when Lauren starts to sing it sounds like her voice might get lost in the cavern of a place but from the second line in she is belting it out and it stays that way for the rest of the show. She barely put a foot wrong, other than clattering the stage with the mic during Science/Visions.


They promise new songs and old songs, meaning songs from their first album The Bones of What You Believe and songs from their second album Every Open Eye. We hear the majority of both albums, and both are as well received as each other. The crowd are up for it, but really come alive on Tether, a highlight from their first album and stand-out song of the night for me. The song was just made to be played in a massive arena like this and the guitar just makes it soar – although they are really an electronic band, I would love to hear them make more use of guitars in future.


Straight after Tether is an excellent extended version of Playing Dead with Lauren on drums, ending with her lying on the stage, from where she starts Science/Visions. Martin takes over on lead vocals a couple of songs later and I’m surprised how much he gets the crowd going, especially on Under the Tide, where we get a mass sing-along. He even gives a shout out the to guy in the crowd who is “taps aff” – the Glasgow phrase for being shirtless.

The main set ends with second album highlight Clearest Blue and the place is literally bouncing. For the encore we get the beautiful Afterglow and another mass sing-along on The Mother We Share.


An excellent show all round, from Chvrches and the support. There is also a refreshing lack of cameras on show, although the downside of this is a lack of quality video footage. I’ve found a couple of decent ones though, so enjoy:


The Mother We Share 

Set List

Never Ending Circles
We Sink
Keep You on My Side
Make Them Gold
Empty Threat
Playing Dead
Bury It
High Enough To Carry You Over
Under the Tide
Leave a Trace
Clearest Blue

The Mother We Share

Crowd photo from Chvrches Facebook page. All other photos my own. 



The Future Is Unknown – Mike Peters live at the Hamilton in Washington DC 2015-09-08

The Alarm frontman brings his Love-Hope-Strength message to the Washington DC faithful in a passionate solo show honoring the 30th anniversary of the seminal Strength album.

The older I get, the more interested I become with survivors; people who encounter and transcend obstacles, bending with the storm but not breaking. The manner in which we face turmoil, turbulence and pain reveals more about our character than anything that happens during the sunny days of life. Rain in the summertimes of our youths is one thing, but it is only when our lives are declared unsafe buildings that all of the unimportant aspects of our lives are cauterized away, revealing the burning fires at the centers of our souls.

Mike Peters is many things: rock star, father and alternative music icon, but above all he is a survivor. His 35-plus year career as a rock troubadour both as the leader of multiple incarnations of The Alarm and as a solo artist would be enough to attest to his perseverance and power as an artist.

In addition, in the 1990s after he had disbanded the legendary first incarnation of The Alarm, Peters pioneered the more direct way that artists in the 2010s now interact with his fans, through his yearly Gathering fan conventions, which in retrospect were years ahead of their time. Peters was sufficiently determined to reach his fans, one-on-one if necessary, that he even recorded special one-off versions of songs for fans (I still have the version of “Shine On” he did for me in 1995).

But far beyond anything to do with music, it is in his battle with blood cancer (Chronic Lymphocytic Leukemia or “CLL”) on both a personal and international level where Peters has found his true survivor’s voice.   Without going into the recurrences and treatments that he has surmounted, it is his Love Hope Strength charity that has revealed his true character.

The charity’s name is taken from lyrics from the chorus on the title cut from 1985’s Strength album:

Give me Love, Give me Hope

 Give me Strength, Give me Someone to live for

 I need it now

With the eerily prescient verse that begins “Who will be the lifeblood coursing through my veins” it is clear that is through Love Hope Strength that Peters has found the strength to survive. Through LHS’s “Get On The List” campaign nearly 2000 patients have been matched with donors who consented to get swabs to identify the genetic markers.

The 30th anniversary of the Strength album was a logical time for Peters to tour, spreading the Love Hope Strength message, and he brought that tour through Washington DC at The Hamilton on 2015-09-08 marching on a vibrant solo tour that highlighted the cuts from the seminal album.

Peters had a very unique setup for a solo show – four microphones at different locations on the stage, a foot drum and bodhran, keyboards and a looper. Each of the mics was set up slightly differently and he used the looper to set up keyboard loops and guitar loops which along with some of the prerecorded instrumental backing tracks that he triggered live via foot pedals, allowed him to go from solo acoustic through full “band” arrangements.

Peters’ voice was in fine form throughout the show. His voice is still a remarkable instrument, a force of nature, the perfect mixture of punk and blue-eyed soul that pops right out of the speakers capable of anger, beauty and pain simultaneously. He strains to hit the highest of the high notes at this point but still pushes right through as if they are aural sculptures being revealed as he sings.

The revelation on this tour was the relaxed and conversational tone that he took between songs to tell stories that related to the writing of the songs on Strength. He had his personal lyrics diary that he used as he composed the songs and at times read out some of the lyrics and even alternate unused lyrics from the time. Peters seemed to revel in telling the stories, some humorous and some poignant, that framed the fabric of his youth starting from the formation of his very first band, the unfortunately named Toilets, which Mike asserts was the first punk band from Wales.

He told a hilarious story about buying his first pair of tight leather pants mail order because there were no punk haberdasheries in the town where he grew up, and in a remarkable segment he told the story of how seeing Johnny Rotten and the Sex Pistols changed his life in the way that the Pistols did not ingratiate the audience, but rather challenged them. He then did a spot-on impersonation of “Mr. Rotten” in an impromptu version of “Anarchy In The UK” that was a definite crowd favorite.

While all of the songs from Strength sounded fantastic in this form, the standouts to me were remarkable versions of “When The Ravens Left The Tower” and “Dawn Chorus”. The version of “When The Ravens Left The Tower” is below:

Here are “Strength” and “One Step Closer To Home” also from the same show:

After the show, Mike’s enthusiasm for both the fans and his Love Hope Strength message were unabated as he stayed to talk to every fan that came up to him, speaking with grace and enthusiasm to each person that has stuck with him through the stages of his journey.

Mike Peters has left indelible contributions in two areas, through his music and his charity. Here’s hoping that his indomitable character allows him to continue to develop both for many years to come. I, like all of his other devoted fans, will be there to walk forever by his side.

You can find the Love Hope Strength Foundation at:

Setlist from the Hamilton:


Howling Wind

Unbreak The Promise


One Step Closer To Home

Absolute Reality

Knife Edge


Dawn Chorus

Father To Son

Only The Thunder

The Day The Ravens Left The Tower


Anarchy In The UK (Sex Pistols cover)

Nothing To Do (snippet)

Spirit Of 76

Walk Forever By Your Side

Marching On

Where You Hiding When The Storm Broke

68 Guns

Blaze Of Glory


Tinariwen – When The Legend Becomes Fact, Print The Legend – live at the Bluebird Theatre in Denver Colorado, 2015-08-12.

The legendary Tuareg collective brings their spectacular Saharan drone blues to the mountains of the Mile-High City.

Tinariwen is one of the world’s most fascinating bands, and one of the best live bands currently working. They do a hypnotic and sinuous style of sahara drone blues called “assouf” among the Tuareg nomads that is exhilarating, spiritual and sensual at the same time and their mastery of the style was in evidence in their recent show at the Bluebird Theatre in Denver, Colorado.

Tinariwen’s music is hard to describe because it penetrates your consciousness from the inside out. It’s like being in the middle of a cloud while a storm is being born. The polyrhythmic, serpentine, trancelike tunes play out in subtle ways, and the more you try to focus on it and grab the music the more it slips through your fingers like trying to hold the wind in your hands.

When you hear Tinariwen live for the first time, you start by saying – “I don’t get it. This is weird and atonal. I don’t think I like it. The song structures sound wrong. I’m becoming vaguely uncomfortable”. But then once you let your subconscious take over, your brain locks in and gets it, and suddenly it’s the greatest music you’ve ever heard in your life.

If there had not been a Tinariwen, it’s clear that the world would have had to create one anyway, because it’s obvious that the world needs Tinariwen. How much of the Tinariwen experience is created by the band, and how much is created by the audience, is hard to know. Similarly, how much of the Tinariwen legend is true doesn’t even matter.

Their backstory has become so legendary that it’s impossible to know where the facts end and the legend begins. But as aptly stated in “The Man Who Shot Liberty Valence”: when the legend becomes fact, print the legend.

So here’s the story as far as I’ve read: founder Ibrahim Ag Alhabib, son of a Tuareg rebel living in Mali, learned to play guitar by making his own Instrument out of a tin can, a stick and bicycle brake wire. (Not even Jack White can match that!)

After Alhabib’s father was executed, he grew up in Algerian and Libyan refugee camps and gradually gravitated to playing traditional music such Moroccan chaabi protest music with his fellow refugees. People began to call the group “Kel Tinariwen”, which translates from Tamashek as “The Desert Boys”.

In the early 1980s, Alhabib and his companions, along with many other Tuareg living illegally in Libya, were conscripted or otherwise joined the Libyan army. In the mid-80s they joined the Tuareg rebel movement in Libya and started distributing homemade cassettes of their music, which apparently were popular underground protest symbols.

Around 1990, the group left Libya and returned to Alhabib’s native Mali village. About the same time, the Tuareg people of Mali revolted against the government, and some of Tinariwen became rebel fighters. After the peace accord was reached in 1991, Tinariwen shifted their full-time focus to music.

Tinariwen can’t seem to evade drama and unrest though, and most recently in 2013 during another Tuareg rebellion in northern Mali Tinariwen had to escape Mali when the militant Islamist group Ansar Dine denounced their music as contrary to Islamic values. Most of the members of Tinariwen escaped to the southwestern desert of the United States but guitarist Abdallah Ag Lamida was imprisoned for an undocumented period, although he’s now back with the band.

Mali’s loss has been America’s serendipity, as Tinariwen recorded their well-received 2014 album Emmaar in the US and has been regularly touring the US for the last three years. I’ve gotten a chance to see them live five times in that time across four states, and their live shows are transcendent experiences.

Over the years the lineup has shifted quite a bit and become multi-generational. They truly are a collective, and whoever is in the troop at any particular time is “Tinariwen”. When I first became aware of Tinariwen in the early 2000s, the focus was on Alhabib, whose calm and noble demeanor on stage belied a quiet storm inside. He was a stoic counterpart to the other elder members, guitarist/singers Alhassane Ag Touhami and Abdallah Ag Alhousseyni, who when they are not singing or playing guitar clap their hands, dance and weave around the stage waving benedictions to the crowd.

On the most recent two shows I’ve seen, Alhabib has not been part of the group, supposedly he’s returned to Mali, but the shows carry on with Touhami and Lamida leading the band. The focus has shifted to the younger generation of players, including a gifted young guitarist and lead singer with matinee idol looks named Yad Abderrahmane playing hypnotic loops and elegantly spare solos, a bass virtuoso named Eyadou Ag Leche with skills on a level like Flea or Bootsy Collins, a percussionist named Said Ag Ayad playing a traditional gourd-style tinde drum and a mysterious shrouded guitarist who always stands at the back, doesn’t appear to sing and keeps the music grounded and pulsing by playing the drone parts.

Tinariwen are visually arresting to watch. They all dress in a color riot of traditional long-sleeved robes and headscarves, although from show to show various members take off the headscarves. Supposedly they used to always play scarved to avoid identity because their music was outlawed, but it hardly matters; it does add to the mystery of the music though.

The size of the band varies from six to ten members that constantly switch positions, guitars and mike positions from song to song, and although I’ve seen as many as five people playing guitar on some songs (!), usually it’s “only” two or three guitarists with the remainder doing background vocals or handclaps. Up to four of the members sing lead vocals depending on the song, while the rest provide a unison background vocal chorus.

They don’t seem to speak English but do speak French and don’t talk much to the crowd during a performance, but that’s fine because talking to the crowd would break the hypnotic trance mood. Since I obviously don’t speak Tamashek I don’t claim to understand the lyrics except the ones translated on the album jackets that typically seem to be either songs about the desert, water, life, ancestors, missing loved ones and other universal themes. It’s a tribute to their music that you don’t have to understand the words in order to think you have a deep understanding of the songs (even if that understanding is probably different to each person who listens to them).

The crowd mix at a Tinariwen show is nearly as interesting as the band. Tinariwen crowds are a wildly diverse mixture of ethnicity, age and style from world-beat music fans to alternative hipsters to aging blues guitarheads to (especially in Colorado) jam-band crunchies and pothea…err…recreational drug enthusiasts. Seeing all of these groups intermixing and dancing together without irony or self-awareness can’t help but bring a smile to your face.

I didn’t even attempt to keep a setlist from the Denver show, but below I’ve posted a couple of phone-videos I shot, including my favorite Tinariwen song “Toumast Tincha” along with their biggest “hit” in the states (“Tenere Taqqim Tossam” – “Jealous Desert”). The latter is a collaboration featuring Tunde Adebimpe and Kyp Malone from TV On The Radio that is partially in English.

Tenere Taqqim Tossam is an amazing song, in that it starts in Tuareg and then shifts to English so subtly that the first time you hear it you think to yourself – “Damn, this music is inside my head so much that I’m starting to understand Tuareg!” Then you realize – oh, Adebimple/Malone are singing in English. Never mind.

The world is a big place filled with people you don’t know, songs you haven’t sung and stories that you haven’t heard. Tinariwen exists in this world, and the world is better because of it. You should not consider your life complete until you’ve seen them play.

Toumast Tincha, live in Denver, CO, USA at the Bluebird Theatre

Tenere Taqqim Tossam

Death Cab For Cutie – Live At Red Rocks 2015-07-15

Soul Meets Body as Benjamin Gibbard and the iconic indie-pop band enthrall the faithful in a sold-out show at Red Rocks.

Red Rocks Amphitheatre is one of America’s very best concert venues and a personal favorite. Just outside Denver, Colorado in the town of Morrison, Red Rocks is a natural amphitheatre with sandstone walls that create a tremendous sound environment and is hollowed out with great sight lines to the stage.

STSIW - DCFC - Red RocksSTSIW - DC - Red Rocks cover

On a gorgeously clear mid-summer night under the stars on July 15, 2015, the stage was set for a magical night with Death Cab For Cutie in front of an ecstatic crowd of mostly young, mostly female adherents after an enthusiastic opening set by tUnE-yArDs and their blend of polyrhythms and vocal effects.

DCfC is an excellent and underrated live act and their fans are some of the most ardent in music. They seem to fill the same places emotionally to their audience that The Cure filled to an earlier generation. On their first major tour since 2012 to promote the new outstanding “Kintsugi” album, DCfC drew from all stages of their surprisingly long career and rich catalog (eight studio albums) going all the way back to 1998’s Something About Airplanes.

Ben Gibbard’s voice, equal parts Neil Young and Neil Finn, is a wonder – plaintive, open and expressive while simultaneously holding a hint of bitterness and threat that combine to make a romanticly dangerous, or dangerously romantic, combination of obsessivesness, melancholy and sweetness. The lyrics are thoughtful, literate and full of longing but with a bit of an edge that keeps them more edgy than maudlin.

In concert, Gibbard bobs and weaves like a boxer in front of a double mike setup that includes his vocal looping kit used on tracks like “You Are A Tourist” and periodically moves back to the piano. Nick Harmer on bass prowls his part of the stage like a panther and Jason McGerr on drums pounds out a surprisingly sturdy rhythm for a pop band.


Dave Depper on guitar/keyboards and Zac Rae on keyboards/guitar fill out a deceptively lush sound. Gibbard keeps the between-song patter to a minimum which services the carefully crafted set list to move between moods and emotions without a break. His playing showed no ill effects from the wrist injury he suffered this spring.

Kintsugi is an ideal metaphor for DCfC’s music, so ideal that if it didn’t already exist someone would have had to invent it. Kintsugi is the Japanese art of repairing broken pottery using gold, silver or platinum as the interstitial. The idea is to celebrate brokenness and highlight the beauty of being broken. We are all broken people in one way or another and kintsugi highlights the beauty of the brokenness unique for every individual, telling the story both of the breakage and the repair.


Without being too heavy-handed here, that’s a great description of DCfC’s songs as well, particularly the ones on Kintsugi.   As Gibbard approaches 40, it’s hard not to focus on whether the lyrics apply to Gibbard’s recent divorce from Zooey Deschanel and the rebuilding of his life since then, but the tie is inescapable on lyrics such as “Black Suns line “How could something so fair/Be so cruel”.

Although Kintsugi’s songs are largely somber, melancholy and wistful, there is also passion and beauty in the lyrics, music and singing that both revels and reveals pain while searching for beauty. This is Night Music that you play to acknowledge Pain before the Dawn you know is coming.

Here’s an example from the show off Kintsugi, the understated “Little Wanderer”…

DCfC’s music is more complex and brooding than typical indie-pop and I was impressed that the crowd seemed to fall right in on some of the complex pieces. An example is “I Will Possess Your Heart”, to me one of the best songs of the past decade and which opens with 2:00 of feedback and squall led by Gibbard with Harmer locking down the bass, followed by another 2:00 of piano moodsetting over the driving beat before any vocals kick in.

I Will Possess Your Heart builds a tension/release like the best of drone blues from the American South with the pressure gradually building and building to a fever pitch before the constriction gets released as the vocals begin, after which the song is actually just beginning. Not your typical radio-friendly indie pop, and it really is something of a revelation live…

Other highlights of the show included a skronking version of “The New Year”, the driving pulse and riffs of “You Are A Tourist”, and the pallet cleansing of the acoustic interlude for “I Will Follow You Into The Dark”, to which the entire audience sang along note for note like it was a Dashboard Confessional emo concert.

Videos for all three songs below:



Other than I Will Possess Your Heart, the high point for me was their usual set closer, a transcendently romantic and crystalline version of “Transatlanticsm”. Transatlanticism is one of my all-time favorite songs, and I’m always amazed by how moving the music and simple lyrics like the repeated “I need you so much closer; Come on now” refrain can tug at your heartstrings.

No video of Transatlanticism here because I put the phone down, got in touch with my inner tween girl and lost myself singing along with the crowd. Every once in a while you have to do things like this to not only remind you that you’re alive, but why you’re alive.

As they left the stage at the end of Transatlanticism, Gibbard flipped me his guitar picks and the evening was complete.   The teenage version of me would have been happy to skip life and proceed directly to Heaven from that point. No-longer teen-age me wouldn’t quite go that far, but it was still a reminder of the power of music to move the spirit. We all need that reminder from time to time. Thank you DCfC.




  • No Room In Frame
  • Crooked Teeth
  • Why’d You Want To Live Here
  • Black Sun
  • The New Year
  • The Ghosts Of Beverly Drive
  • Grapevine Fires
  • Little Wanderer
  • No Sunlight
  • Company Calls
  • President of What?
  • You’ve Haunted Me All My Life
  • What Sarah Said
  • I Will Follow You Into The Dark (acoustic; solo)
  • Everything’s A Ceiling
  • You Are A Tourist
  • Doors Unlocked And Open
  • Cath…
  • Soul Meets Body
  • I Will Possess Your Heart


  • Passenger Seat
  • A Movie Script Ending
  • The Sound Of Settling
  • Transatlanticism


The best spot in the arena to watch the U2 U2ie tour is (Denver Night 1 report)…

Just a quick report from the road. U2’s U2ie tour rolled through Denver on June 6 and 7, and while already only 10 shows or so in, the performances are really running smooth and energetic, and by U2 standards fairly loose in the performances from the B-stage.

Having seen three U2ie shows so far from three different locations, I can say that for me at least being on the rail next to the B-stage right in front of where the band exits the “divider” is the best seat in the house if you don’t mind not seeing all of the big screen.

I’ve been to nearly 50 U2 shows over the years, and that spot is the closest proximity I’ve ever seen them from, close enough to have conversations with them during the B-stage sets.  You also see little things that you don’t see from the stands, like in Denver where Bono picked up a book copy of Dante’s Inferno and flipped it open and was reading it as he clambered up into the Divider. I think only the closest 20 people or so to that spot saw that sort of thing.

In terms of the musicianship, Larry (who in a shameless brag I’ll admit I got to meet briefly before the show, the last member of the band I’d never met) seems to be enjoying himself – well, at least by Larry standards – and Adam was his usual bemused, baronial self.

Edge seems to not be particularly enjoying himself and was extremely focused on his playing, and Bono seems looser and more spontaneous than usual.

The band is mixing in new or rarely played songs here and there in the set; from Denver the definite high-point to me was two songs in when they played a vibrant version of “Electric Co.” which I hadn’t heard live from them since the 80s.

Bono is also in excellent vocal form right now, even if he doesn’t seem 100% rehabilitated from the bike accident.  If you have any doubts about his vocals, see the video I “shot” for Every Breaking Wave below…

Gig Review: Ride – Glasgow Barrowland – May 22nd 2015


Ride All

It only took them 21 years, but the wait for Ride to return to the Glasgow Barrowland was worth it. Seen as one of the UK’s most influential bands from the Shoegaze scene, Ride were always more than just a shoegaze band, which stood them apart from their peers. Their sound encompassed different styles from psychedelia to garage rock and even pop.

Almost as soon as they split in 1996 fans have campaigned for a reunion and, inspired by the unlikely Stone Roses reunion, it finally happened in 2015. After a show in their home town of Oxford, then a short tour of the USA, the European leg of their tour kicked off in Glasgow at the iconic Barrowland.

Just like the Ride shows of the past it began in dramatic fashion, with the band not taking to the stage until long after the lights went down, the crowd getting more and more frenzied the whole time.

Mouse Trap from second album Going Blank Again was a surprise opener, followed immediately by Chelsea Girl from their debut EP. In fact the whole set, with the exception of one song, was taken from their early EPs and first two albums. Black Nite Crash from their final album Tarantula did feature, but there was nothing at all from Carnival of Light, perhaps not surprising when the band themselves dubbed it ‘Carnival of Shite’!

For a band who hadn’t toured for 21 years it was remarkable that they could play an almost two hour set with the same energy as they did in their heyday. Loz Colbert was an unstoppable force on drums, Steve Queralt on bass was the usual quiet man, but a driving force, and dual front men Andy Bell and Mark Gardener took turns at both creating a magical atmosphere and knocking the life out of their guitars.  No more did the guitars get a beating than during Seagull, the opening track from their debut album Nowhere. This was also the point where the famously chaotic Barrowland crowd lived up to its reputation. I’ve posted a clip of this song as an illustration of how difficult it can be to hold a camera bang in the middle of ‘The Barras’.

The only gripe for me was the lack of Nowhere, the bands most ‘shoegaze-y’ song, but they more than made up for it with a glorious Chrome Waves and an epic version of Drive Blind, which ended the main set.

The encore included early track Like a Daydream and ended with biggest hit Leave Them All Behind, another epic, which pretty much sums up the whole show.

I don’t know what the future holds for Ride, but hopefully it won’t be another 21 years before we see them again.

Set List:
Mouse Trap
Chelsea Girl
Polar Bear
Cool Your Boots
Black Nite Crash
Dreams Burn Down
Time of Her Time
Chrome Waves
Vapour Trail
Drive Blind

Like a Daydream
Leave Them All Behind

Full video of Dreams Burn Down, from debut album Nowhere:

Partial video of Seagull, a good insight into what it’s like in the middle of a Barrowland crowd!

First Nights On Earth – U2 World Tour Opening Nights on the U2ie “Innocence and Experience” tour in Vancouver, British Columbia


U2 take flight on the premiere nights of the “Innocence And Experience” tour in Vancouver on 2015-05-14 and 2015-05-15 and reinvent the arena rock show in the process.



This review is essentially just one extended spoiler of the new U2I&E  (or “U2ie”) tour from the first two shows on 2015-05-14 and 05-15 in Vancouver, British Columbia. If you want to be surprised at the show, read at your own risk.

This is fan’s review from what theoretically are the best (RED zone front row, first night) and worst (first section behind the band, second night) seats in the house.

 U2 “first nights” are like a first kiss – full of hope and expectation, but usually a little uncertain, hesitant and sloppy. The band really seemed on their game for these two shows though; it was clear that they were on their game.

 Yes, there was the glitch at the every end of the first show where The Edge fell off the stage, err, “downloaded himself into the audience without permission”, as Bono clarified at the second show, but other than a couple of slow transitions between set pieces, it was a powerful, energetic show that went off in mid-tour form.

But yes, because it’s the thing everyone was talking about, here’s the infamous opening night moment:


The months (heck, years) leading up to U2’s new U2ie tour have been difficult for U2. Several stop/starts during the recording process with multiple collaborators and producers were then compounded by the well-intentioned but clumsily executed album release debacle on iTunes. On the subsequent early promotional tour for Songs Of Innocence it appeared that the Grim Reaper had finally come to collect his dues on Bono’s charmed life, from the incident where a cargo door fell off a plane Bono was flying in and then of course Bono’s bicycle accident that required several months of physical therapy and that has left him unable to play guitar.

When combined with the atypically modest chart success of The Miracle (which the band has taken to renaming “Joey Ramone”) and the reworked piano/voice version of “Every Breaking Wave” U2 could have been forgiven for just sitting this round out from a tour standpoint. Given their tour history, they don’t have anything to prove to anyone at this point, and there’s no way that they could get bigger than the U2360 tour, whose stage was literally so big that it poked out of some of the stadiums that hosted the U2360 “claw”.

However, the band really believe in the songs on the new album, and one truism is that U2’s songs come alive in a concert setting in a way that transcends the album versions, so clearly there was going to be a tour up to U2’s expectations, but they kept the stage setup under more secrecy than usual.

The press hype leading up to the U2ie tour was more subdued than any tour in recent memory, and so it was hard to know what to expect from U2ie. The band seemed to be really downplaying the expectations for this tour to focus on the music and less on the extravangant stage show ala U2360.

So if you’re U2, what to do?

Just reinvent the arena concert experience, that’s what.

The secret weapon of U2ie is “The Divider” – a giant double-sided video wall that runs the entire arena from the main stage set at one end of the arena to the satellite B-stage. At first it just looks like any video wall, but then as you look closer you can see that there’s a catwalk-width corridor running the entire length, and then look even more closely and you can see that the walls are slightly see-through, have ladders on either end and trapdoors underneath for reasons that only become obvious later.

More than a gimmick, the Divider is an integral part of the show. During the show, there are times where it is used for “just” projected images, but there are other times where the images interact with the band members who periodically climb inside the Divider and play from the inside in what must seem like a cage. You can see them pretty clearly inside the Divider, who knows what they can see. More on all this below in the song-by-song discussion.

Much has been made of the sound mix at U2ie, and the hype is justified. The sound at U2 shows has been exceptional starting with ZooTV back in the early 90’s, but they’ve definitely gone one step closer to perfect arena sound with the U2ie setup.

Whether it’s because they run some of the speakers down the length of the main stage, or whether they are doing electronic sequencing and processing, the sound is extremely well balanced throughout the arena. The sound level and mix seemed the same to me from the front row in the RED zone to the stands behind the band.

The volume is never too high or too low and the equalization between the four main band performances (as well as the sweetening magic for the additional arena sound like the Lykke Li background vocals on The Troubles and the sequencer on Bad) is near perfection. I see a lot of shows by a lot of bands and I think that the U2ie setup is the new canonical standard for arena sound.

One last point – having a satellite B-stage is nothing new, but bands typically don’t make good use of the space between. Even U2’s previous runway “heart” stages weren’t really used to full effect other than occasional Bono-forays out to sing from the tip, or the nutty U2360 performances of “I Know I’ll Go Crazy”. Here there were set pieces where the band was strung out evenly spaced down the runway stage, and pieces where band members would prowl the runway while another member was inside the Divider. This was used to best effect on Cedarwood Road and Until The End Of The World (see more below).

Overall impressions:

Overall the band was in superb, mid-tour form. Bono’s voice sounded as good as ever, and he still goes for it to the end of his range as much as ever. I didn’t notice any lingering effects from his prolonged rehab after the bicycle accident, and if he didn’t run around the stage like a maniac like at times on even the U2360 that can be forgiven at this stage of their career.

Edge, Adam and Larry were also in mid-tour form, with Edge as usual being a wizard in the sounds being coaxed out of his kit, and creating an orchestra’s worth of volume as always. Adam was his usual comfortable and bemused self as he prowled his end of the stage and Larry was workmanlike and intense as always, possibly heightened by the loss of his 92-year old father earlier in the week.

All four members appeared to enjoy best playing the new songs from SOI with nine of the twelve tracks (if you include “Invisible”) showing up over the two nights (seven of which were played both nights and which were the lynchpins of the show).

One note: early on U2 had intimated that on this tour where they’re typically playing multiple nights at the same venues that the second nights would have radically different setlists than the first nights. Rumor is that they had practiced sixty songs for the approximately twenty-five that they pick nightly. And while to be fair the six songs they only played on night two is more than they typically mix in from show to show; still don’t expect to see a radically different show on nights 2 and beyond.

The visuals they have mapped to some of the songs are ones that they’ll want to use every show and the way that some of the songs are specifically sequenced for effect tells me that the shuffling of songs will primarily come at three points – at the start before the visuals kick in, at the B-stage mid-set, and at the end of the show and encore. These are the times where the band is “naked” without the Divider visuals and so this gives them a bit more flexibility.

For the fans that were expecting the “first night” shows to be the main experience and the “second night” shows to have a deeper-cut playlist, I’m not sure that it will play out that way. I think the mix of songs will be consistent at multi-night venues with typically a surprise or two each night.

Song wise, with them believing so much in the SOI songs, something has to go in the setlist and so several past favorites have been retired, at least as songs that get played every night: no New Year’s Day, In God’s Country, All I Want Is You, The Fly, no One on first night (more below on this below), no Elevation or Walk On, and nothing from Pop or No Line On The Horizon.

On the down side it feels like something is missing to not have NYD, Elevation, Walk On or One; on the other hand I admire that the band has so much faith in the new songs. If previous U2 tours are any indication, I’d expect that over the course of the tour they’ll cull a couple of the SOI songs as they discover which ones work best in the U2ie context.

One other point – on both nights Bono kept the political and humanitarian speechifying to a minimum. I never minded that and I hope that he’s not cutting back on his ideals because of pressure from the folks who give him so much trouble about his “boring preachy part”.

Here’s a quick song-by-song impression (forgive the spoilers):



Interesting pre-show warmup music which seemed to be same both nights, pretty much post-punk and new-wave songs that were all (or pretty much all) from 1980. Clearly they were trying to lock in a groove from when they were first starting out, even if there were some artists that were probably favorites of theirs at the time (Patty Smith, The Clash, Simple Minds) and some that would have been at best guilty pleasures (A Flock Of Seagulls, Plastic Bertrand (!)).

There were several false alarms where the crowd thought that the show was eminent, but be listening for the Ramones’ “Baby I Love You” and “Beat On The Brat” which the band lists on their set-list call sheet as part of the set (see at bottom of this post)

“Beat On The Brat” is the cue that the show is starting, with what sounds like a bit of sweetening from Edge’s guitar. From behind the stage you could see the band enter the arena and walk under the stage during “Beat On The Brat” and then take the stage.

1) The Miracle (Joey Ramone)

Both night’s began with rousing renditions of Joey Ramone (as the band calls the song on the setlist) that get the night off to a festive start from the main stage that the band calls the “Square Stage”. For the first four songs they don’t use visuals from the Divider, the only visual is the single lightbulb spotlight about the stage and for the folks lucky enough to be in the front of the GA and RED sections it’s like being transported back to 1980 and seeing them in a club. The audience clearly knows the song by heart already and was in full throat for the “Wo-o-o-o” choruses. Not my favorite song from the album but a perfect beginning to the show, announcing that U2 are back and ready to go.

2) Out Of Control

Night 1 went straight into “Out Of Control” with a snipped of “Do You Remember Rock and Roll” prefaced with the same “…this is our first single” patter they’ve used on previous tours. I’m always surprised by how much the audience seems to know this song.

3) Vertigo

Out Of Control went straight into Vertigo with no over-the-top visuals, just the band playing straight-ahead.

4) I Will Follow

Back to 1980 with I Will Follow which had the whole stadium bouncing. First high point of the night.


On Night 2 they skipped Out Of Control and went straight from Joey Ramone to Vertigo, but then added in a nice version of California (There Is No End) for song 3 preceding I Will Follow. As much as I like Out Of Control, I think that the night two order worked better.

5) Iris (Hold Me Close)

After the first bang-bang four songs, Bono slows down the tempo and has a nice heartfelt interlude about his mother Iris, mentioning something along the lines about not wanting to live in the past but needing to remember it. This is was the first time that they started using the catwalk stage and the first time they started using the Divider for more than band performance shots, with what appeared to be home-video footage of Bono’s mother and a very young Bono. Bono’s vocals were heart-felt and vulnerable and you could tell that no matter what the haters think the new SOI material really does matter to him.  Listen for the snippet from “Mofo” during Iris, a song that couldn’t be more different musically but does link lyrically.

6) Cedarwood Road

Here’s where U2ie starts to get really interesting. At the conclusion of Iris, a ladder descends from the Divider from the square stage and Bono invites the crowd to take a walk with him along the Cedarwood Road of his youth as he climbs the ladder and goes inside the Divider as the crowd anticipation builds.

As the song begins you don’t see Bono making his way down to the B-side of the Divider but then as the video wall lights up you see an animated side-scrolling movie evoking the Cedarwood Road of their youth as they remember it. As Bono slowly walks down the inside of the Divider, the bright animation scrolls past and because you can see him inside it appears that he’s walking down the road, down to the graffiti of the time and the blossoms falling off the trees. It’s a very simple but powerful effect. It’s also the first time in the show where you see band members simultaneously on the stage beneath the Divider and in it, with Edge on the main stage immediately below Bono while Bono is inside the Divider. It’s as if Edge is providing a musical narration of the road while Bono walks down it.

7) Song For Someone

As Cedarwood Road ends the video wall animation moves to the inside of a teenager’s bedroom with a young Bono (with the animation of the teenage Bono purportedly played by his real-life son) sitting in his bedroom beneath Kraftwerk and Clash posters.

As the intro starts Bono talks a bit about songwriting as a youth and trying to find the way to describe first experiences like first love, first kiss, etc., and then gave a shout-out to his wife Ali. This was really a surprisingly poignant way to set up the song and fit the mood, the lyrics, the vocals and the music perfectly. Very impressive, and the first time that Bono is singing by himself from the “round stage” at the far end of the arena from the rest of the band who stay on the square stage, evoking both physical distance and the distance of memory.

8) Sunday Bloody Sunday (acoustic)

After Song For Someone the rest of the band all moved as a group down the runway stage and spread themselves out equally across the length of the arena, Larry carrying a lap-snare and Edge his acoustic. They they laid out a surprisingly elegiac, funereal acoustic version of Sunday Bloody Sunday, played straightforward and almost hymn-like. From the floor you can’t really tell this but they light show paints an Irish flag on the runway.

DSC00150 - SBS

At the end, the video screen showed the victims as if to bring the crowd back to the moment of the attack to appreciate why this had such an effect on the nascent U2, along with a Bono quick patter celebrating Ireland’s current relative peace, saying that “because no-one won, we all won”.

9) Raised By Wolves

SBS ends with a montage of sounds, news overdubs, sirens and crashes and with Larry doing slow snare hits as if intoning funeral bells, and then they go straight into a thundering, pounding version of Raised By Wolves with what sounded like a Psalm 23 snippet. A highlight of the album and a powerful moment in the show.

10) Until The End Of The World

This was my favorite example of how they combine the visual wall with band members inside it. Edge is inside the Divider playing the classic riffs of UTEOTW with Bono out on the B-stage in full Mephistopheles mode, and as the temptation lyrics unfold Bono is projected onto the video wall in full size “Attack of the 50-foot Bono” mode and the stage crew projects Bono is if he is playing with life-size Edge almost as a prop in his hand, poking, teasing and waving at him in a playful yet menacing way.

I’ve always thought the bullfight-style interaction between Edge/Bono was a highlight of previous tours; yet there is something that’s even more powerful about God-size Bono playing with Edge here that is even more evocative of the lyrics.

The direct interaction between Bono and Edge gives way as Bono waves his hands at the “waves of regret” portion and the remainder of the song puts Technicolor animation over the wall as Edge wails away at the guitar like a caged animal, a man possessed. The crescendo builds up to the point where the single lightbulb from the main stage shows up on the video wall and shatters, denoting loss of innocence.

I don’t if it’s because Edge is essentially trapped in a cage inside the Divider or whether he’s just not distracted by the crowd, but when he’s inside the Divider he was playing some of the most snarling, vicious guitar that I’ve ever heard from him.

Overall, an unforgettable setpiece that really puts the new setup to best effect, and brings the first set to a rapturous and breathless end, and leaves the crowd needing a respite.

Sidenote 1: At the end during the “la-la-la-la’s” the band drops buckets of pages from the rafters ala earlier tours, only this time the pages (at least the page I grabbed) were bible pages; I got Psalm 43. Between this and the giant Bono, I know that my Bono-hating friends would just be cringing and rolling their eyes. There comes a point where you either buy Bono’s schtick or you don’t. To a true believer it’s close to the Holy Spirit moving on a crowd; if you’re a skeptic every terrible thing you’ve ever said about U2 has just been evoked.   Either way, you have to admire a band that wears its heart and soul on its sleeve and brings out passion, because isn’t the evocation of emotion the central point of music in the first place?


Sidenote 2: For night 2, I was basically edge-on (no pun intended) to see the catwalk inside the Divider but couldn’t see the main screen. This was the first time that I really saw a limitation in not being able to see the main Divider. While they have set up a small screen (roughly the size of one of the ones used on U2360) they use it mostly for b&w band shots and some of the setpieces. During UTEOTW because they only had the Bono performance view, so while most of the audience was seeing Giant Bono holding Edge in his hand all you could see from the edge of the wall was him waving his hands like a hula dancer and poking his hands into space for no apparent reason. This was one of the few times where the show was significantly degraded by being behind the band.


The “intermission” runs about 4-5 minutes and consists of a montage of late 1970’s talk-show interviews and performances with punk and post-punk performers and bands. While I loved seeing the images and footage, this section didn’t really come off as strong as I think the band had hoped, and the crowd seemed disinterested on both nights. I’d expect that this section will be revamped along the way.


11) Invisible

Somehow the band all get inside the Divider undetected and the second set begins with the video wall a solid lemon yellow as Invisible begins to play. The conceit here is that in rhythm with the music and performance tiny portions of the yellow screen go clear so that you can see little bits and pieces of the band as they play, eventually leading up to the end where the screen is completely clear and you see the band through the walls of the screen for the end of the song. A simple but entertaining idea that seems sort of like something that Kraftwerk would have done if they’d had the technology.

12) Even Better Than The Real Thing

Invisible segues into a rollicking, pounding version of EBTTRT with bright visuals on the screen and the band making their way out of the Divider and down to the round stage. They were really cooking towards the rousing end of the song.

13) Mysterious Ways

Now ensconced on the round stage and the runway on that end of the arena, it was time for a faithful if predictable version of Mysterious Ways that really sounded terrific (with a snipped of “Burning Down The House” thrown in).

Night 2 had a nice surprise where a male audience member was brought up to sing with Bono. I read in a local Vancouver newspaper that the man was a video filmmaker making a movie about confronting fear and one of his bucket-list items was to sing with U2. Whether that was him or not, there was one of those classic U2 moments on night 2 where the man and Bono were on the runway and the man spontaneously picked up Bono almost like a baby and carried him back to the round stage. Bono didn’t break and kept singing throughout in a moment that had the sold-out crowd laughing.

IMG_0987 - Mysterious

14/15) Night 1: Desire/The Sweetest Thing; Night 2: Angel Of Harlem/When Love Comes To Town

This looks to be the part of the show where U2 will shake up the setlist most on this tour. Visually the cameras are just doing performance shots of the band so they’ll be able to mix in most anything they feel like playing.

On Night 1 it was a straightforward version of Desire followed by a nice version of The Sweetest Thing with Bono on piano (he may not be able to play guitar anymore but apparently he can still play piano). Sweetest Thing sent a real murmur through the crowd because it’s rarely played; I believe it’s the first time that it had been played in concert since midway on the Elevation tour.

On Night 1, BB King had passed that day but I don’t remember any mention of it from the band. However, on Night 2 Bono did pay a quick elegy to Mr. King and then they launched into a blistering version of When Love Comes To Town that came off so well that it’s hard to believe that they hadn’t played it in concert since 1993.

Anyone who’s gone to a concert in the last few years knows that one of the most annoying trends in concerts is the ubiquitous presence of people holding up their cell-phones to catch snapshots and videos. (Confession: I do the same thing from time to time, as in some of the videos here in this blog). Hypocrisy, thy name is “self”.

For the second song on both nights in this slot, U2 decided that rather than curtail the cellphones they’d take advantage. On both nights they pulled an attractive young woman from the audience (some things never change at a U2 concert) and had her be a videographer using her cell phone, with the video outputs from the cellphones tied directly to the house video so that while they had the phone in video mode what they were seeing was being projected to the entire house. It’s a neat idea of reaching out to the crowd, but the bandwidth delay of the video capture to the house video meant that the video was out of sync with the music. I wouldn’t mind if they lost that part.

Here’s Sweetest Thing from Day 1 and When Love Comes To Town from Day 2:

16) Every Breaking Wave

At this point, Larry and Adam walk back down the runway to the square stage while Bono and Edge stay at the round stage with Edge at piano, and then they launch into the passionate and heartbreaking acoustic version of Every Breaking Wave that they’ve been playing since last fall during the SOI promotional TV performances.

This to me is the best thing on SOI and hearing Bono’s voice soar in person with the strength and power of his vocals reminds you that no matter what you think of Bono he’s one of the best rock vocalists ever. The crowd was singing along louder to this song than any other song of the night as a giant (if mostly off-key!) chorus backing him up. Within seconds of the piano starting on both nights, the arena was awash in cell-phone flashlights, the Century 21 version of lighters aloft. A real high point both nights.

IMG_1001 - Every Breaking

17) Bullet The Blue Sky

Next up was the blistering, cacophonous and biting return of Bullet The Blue Sky to the setlist. The band played with the intensity of the ZooTV tour here while the “fighter planes” were being replaced here with the “private planes” Bono referenced, substituting bankers and the ultra-rich for the American militarism and colonialism that Bono used to decry.

The spoken word portion of Bullet now ties to a story Bono tells of landing in a private plane in Davos Switzerland as part of an economic conference and seeing a 19-year old boy reminding him of himself at that age, and seeing himself through the eyes of that boy telling that he has too much money.

Bono then launched on both nights into an extended patter like a Penecostal preacher imploring unity and togetherness. Edge seemed delighted to have Bullet back in the setlist, and he gave the solo a real working over while Bono next to him assumed the position of airplane, arms outstretched like airplane wings.

To the Bono-haters, I’ll only say that I’ll allow that many of Bono’s perceived flaws and excesses are true but only if you’ll admit that at least most of the positive things people say about him as a performer and person are also true.

You know who you are.

18) Pride (with Hands That Built America intro)

The emotional wave in the crowd from Bullet was extended in the next piece as Bono sang an extended snippet of Hands That Built America along with a callback to the recent racial violence in Ferguson, MO with a “Hands Up Don’t Shoot” reference before starting a monologue about America as an idea more than a physical place. This section got polite applause from the Canadian audience but will probably resonate more later in on the US legs of the tour.

“Hands” segued into a workmanlike and serviceable version of Pride on both nights.

19) The Troubles / Beautiful Day

Here’s another place where the set differed from Day 1 to Day 2. On Day 1 at the end of Pride the stagehands set up a cocktail kit drum set for Larry at the front of stage left (audience right) complete with tilted bass drum, and with Bono still across the arena at the round stage Larry started into The Troubles on the drums with an offstage keyboard. It was a slow, patient version of The Troubles that I thought was quite powerful with interesting full-screen black and white headshots of Lykke Li while Bono sang stationary at the standup mike.

The tables had turned and now it was Bono who was small and fragile with Li the towering presence. I thought it worked really well especially at the “God knows it’s not easy…” bridge but they took it out of the show for the second show. Hopefully they’ll keep it in the show and let it breathe because it could turn out to be a real grower over the life of the tour, especially with the Edge solo at the end that is vaguely reminiscent of the Love Is Blindness solo.

In its place on Day 2, substituted a crowd-pleasing version of Beautiful Day (which shows up later on Day 1).

20) With Or Without You

Both days ended the second set with a slightly slowed-down but still-intense version of With Or Without You as mirrorballs descended from the Divider. The Day 2 version was especially powerful at the end and my attention got drawn again to Larry’s drumming; steady, powerful, and metronomic but evocative at the same time. It’s interesting to hear what a great drummer can do with a rocksteady 4/4 beat.


21) City Of Blinding Lights / Miracle Drug

The encore begins with scenes of Earth as seen by the International Space Station over a one-minute passage from astrophysicist Stephen Hawking including the phrases “…we are one” which led most of the crowd to think it was the intro to “One”, as the vertical/horizontal fluorescent-tube lightbars, which are the iconic press images of U2ie, descended into place.

Surprisingly, though next up it wasn’t “One” – in fact on Day 1 One wasn’t played at all which was the first time at an official full-length show they’d skipped One since January 1990.

Instead on Day 1 it was a ringing version of City Of Blinding Lights where the crowd joined in as always on the “Oh…you…look…so…beautiful…tonight” as the house lights swirled.

Bono pulled up a young boy out of the audience and placed him on the runway next to one of the vertical lightbars and then seemingly forgot about him for quite some time. The boy was roughly 5 years older than the boy(s) who got pulled out of the crowd for COBL on U2360, which might me a coincidence or deliberate.

On Day 2 it was a real surprise as they started the encore with a note-perfect performance of Miracle Drug along with a short Bono-speech on how we hope to see the scourge of HIV/AIDS eliminated in our lifetime. This was the first time that Miracle Drug had been played since the Vertigo tour and it sounded great. During the extended guitar break Bono worked his way down the runway down the row of lightbars in what was a very powerful vocal performance.

Here’s Day 1 City Of Blinding Lights and Day 2 Miracle Drug:

22) Beautiful Day / Bad

On Day1, COBL was followed up with a rousing version of Beautiful Day complete with an “I Remember You” snippet with Bono starting at the square stage and then working his way down the runway to the round stage.

On Day 2, with Bono already at the round stage the familiar sequencer strains of “Bad” started up at this point and a lot of the older fans lost it, as “Bad” has a special place in the hearts of long-time fans. I admit I’m one of them; my perfect U2 concert would consist of a two-hour version of Bad.   Here Bono, alone on the round stage under a single spotlight stood across the arena facing the band and it was a fantastic vocal performance from him, including a quick callout to Moment of Surrender that I’d never connected until that point.IMG_1015 - Bad

It was a typically outstanding vocal performance, and one of the few times where being right behind the band and able to look down the runway was the best seat in the house, with Bad serving as a journey to Heaven down the lighted runway.

I love the fact that they only play “Bad” about 10% of the time in concert, so it’s always a great surprise when it shows up.

23) Mother And Child Reunion / Where The Streets Have No Name

Probably the biggest surprise on both nights was the extended acoustic snippet of Paul Simon’s Mother And Child Reunion which served as the intro to Where The Streets Have No Name. Streets sounded as good as ever and brought the crowd to a rapturous climax. It’s no surprise that this song has endured in the setlist, it’s one of the most dependable crowd-pleasers from any rock band in rock history and just looking at the sea of raised hands is as close to a church experience that can be had in a secular setting. Both nights included a snippet of California (There Is No End…)

24) I Still Haven’t Found What I’m Looking For / One

After the crowd was happily exhausted after pogoing on Streets, for the final song they segued surprisingly into chart hits for their final song. On Day 1 it was the now-infamous version of Still Haven’t Found where Edge fell off stage and on Day 2 it was the return of One. One sounded exactly the same as always even though Bono no longer was using his beloved Gretsch Green Falcon guitar.

. 🙂

And as the band exited the arena to the final strains the house lights came up and the show was over. Until the next time.

I’ve seen U2 now close to 50 times total over their career. It’s too soon to think right now where the U2ie shows rank in their overall portfolio, but it’s amazing to see a band 35 years into their career that are still at the height of their careers and still pushing themselves lyrically, musically, visually and in performance. As long as the crowd can tell that it’s not BS to the band, they’ll continue to be worth supporting and I at least for one… will follow.


Just a couple of quick notes for U2ie concert-goers…

GA Section

Starting with Elevation, many of the youngest and most ardent (often not the same) U2 fans have realized that the GA tickets are the way to go. Not only are they cheaper but they bring you closer to the band, even if at the expense of not seeing the full visual experience. The true-blood fans are willing to trade immediacy for the visuals.

One thing I noticed this show was that the GA queue seemed to swell earlier in the day than usual, or so it seemed to me. It seems like people have thought based on the last few tours that you have to queue up early to get the best places on the floor.

For U2ie, I think this is less important than on the previous tours, where there was a push to either get inside the “Heart” or to be on the outside first row of the catwalk. The band spend enough time on the runway, inside the Divider and on the round stage that unless you’re looking to get Bono-sweat on you pretty much anywhere in the GA section is going to be a good choice.

In other words, the queue during the day seems to be longer, and earlier in arriving, but less important in the long run than on previous tours.

RED Section

I was in the RED section for Day 1 (first time in the RED zone for me), and my advice to concert-goers is to get RED tickets because you believe in ONE and RED, and not because you’re looking for a “Golden-Circle” experience. The area on the floor for the RED tickets is outside of the GA area extending down to the stage on the far ends, and I didn’t notice the benefits that I’d heard of previously in terms of concessions and merchandise.

Since there are only 100 seats in each of the North and South zones, there is one advantage of having a little more space to stretch out and dance if you’re not obsessed with getting as close to the action as possible.

In terms of one of the carrots that they throw out for RED Zone (the backstage tour) what they do is draw raffle-style tickets out of a bucket where two are labeled “backstage tour”. So, only two out of two-hundred people get the backstage tour, there’s no meet-and-greet and your plus-one doesn’t get to come. Plus you lose your spot in line to get your place on the floor.

I believe in RED as a concept and a product, but I can’t really endorse the extra cost of the ticket other than as a donation to RED, which is a worthy cause.

“North Side” and “South Side”

For both the GA and RED Zone, you get confined to either one side of the Divider or the other. I suppose that it will be different for every arena but at Rogers Arena in Vancouver RED Zone 1 and “North Side” were on Adam’s side, while RED Zone 2 and “South Side” were Edge side.

If you’re particularly interested in being on either Edge’s side or Adams’s side, I’d suggest you sort that out before entering the arena, because they have separate entry lines for north/south side, and it’s hard once you’re in the arena to move between the sides without a bit of ingenuity.

End Zone

As I mentioned above, given that so much of the visuals are driven by the Divider even though they make the effort to have a smaller screen for the folks directly behind the band, you’re definitely not getting the full experience of people down the sides (or even near the round stage). I’d suggest paying a little more and avoiding the spot directly behind the band.

IMG_0991 - overhead

The Merch

People always want to know about the Merch. This time with no opening act all of the merch is U2-related, but it’s pretty subdued this time around (see pic below). There are the usual assortment of T-shirts (running approx. 40-45 $), hats, tote bags and programs, but the big item this go-around seemed to be the hoodies, which came in two styles and ran 90$. I didn’t see some of the other items this time like skull caps and jackets, but the quality seemed pretty good (by concert-gear standards).



Day 1 set list courtesy of

Day 2 set list courtesy of

Screen Shot 2015-05-16 at 3.05.14 PM

Gig Review: Of Monsters And Men – Washington DC – 2015-05-05

The Icelandic Indie folk/acoustic darlings drop a batch of new songs from the upcoming “Beneath The Skin” along with crowd favorites from “My Head Is An Animal” on the faithful in Washington DC.

Certain things in music are generally true, including the assertion that any English-speaking Icelandic band is going to be quirky, individualistic and worth a listen.

That truism has been valid at least as far back as the Sugarcubes/Bjork, continuing through bands like Seabear and Quarashi and of course Sigur Ros. Of Monsters And Men carried through on that proud tradition on 2015-05-05 in their soldout show in Washington DC at Echostage, where they previewed several tracks from their upcoming (June 2015) new album “Beneath The Skin” along with popular favorites.

Of Monsters And Men’s debut album “My Head Is An Animal” was an unlikely hit in 2012 in American alternative circles with several infectious hit singles and clever animated videos including “Little Talks”, “Dirty Paws”, “King and Lionheart” and “Mountain Sound”. OMAM hit US shores at the crest of the wave of acoustic/folk bands that followed in the wake of the Mumford & Sons breakthrough, and were often lumped in with both European and US bands that on the surface carry a similar sensibility such as the Noah & The Whale, The Head And The Heart, The Lumineers, The Avett Brothers, etc.

I thought that “My Head Is An Animal” stood out from the rest of the pack as one of the best albums of 2012, combining some of the best of the Arcade Fire, The Head And The Heart and The Wind And the Wave. The lyrics were interestingly impenetrable, and I really liked the timbre of singer and guitarist/drummer Nanna Bryndis Hilmarsdottir’s voice. Hilmarsdottir’s voice has just a trace of Bjork in her slightly-accented English, and her voice melds nicely with other singer/guitarist Ragnar Porhallsson.

I’m still not sure that I understand all of the metaphors in their lyrics (at least I’m assuming they’re metaphors), but the big-hearted singalong style in their hypermelodic folkish choruses make you feel that their songs have always existed and the melodies are very pleasant and accessible, albeit with a slightly dark twinge. They have released lyric videos for several songs off of MHIAA but which don’t help me a bit to understand the songs, and I’m OK with that.

OMAM have kept a low profile since the extended touring that accompanied My Head Is An Animal but have just started touring in North America in support of the upcoming “Beneath The Skin”, and they played several brand new songs at Echostage, including the two strong new songs that have already been released, “Crystals” and “I Of The Storm”, leading off the show with two brand new songs.

“I Of The Storm” might be the more representative example of the new songs, which in general seemed not as immediately accessible as the singles from MHIAA but are probably growers on extended listens. The choruses seemed smaller and overall their sound has grown and evolved, broadening and deepening the heavily percussive and rhythmic elements with heavy bass drums and martial snares. Along with the percussive elements, they kept enough fragile keyboards along with some trancelike atmospherics from the hollow-body guitars and even an occasional trombone to broaden the sound and keep it from getting too heavy. As a comparison point, the song off of the first album that ties closest to the new songs might be “Your Bones”.

None of the songs had the mass-vocal bounce of “Mountain Sound” or “Little Talks” but they probably realize that they had mined that vein pretty fully on the debut album and their earlier “Into The Woods” EP from 2011. There was also the natural tendency of a young band to be a bit more tentative on brand new songs as opposed to the songs on the debut album that they’ve been playing in concert since 2011 (if you include the Into The Woods).

There is a fine line between fully realizing a signature sound, and reaching a musical dead-end. The evolution of the new OMAM sound is not nearly as pronounced as on the new Mumford & Sons album but it is a noticeable difference from MHIAA and bodes well for the band’s future as the winds of the music industry change. They appear to have avoided painting themselves into the same corner that some of their “sibling” bands appear to have done.

In concert, while OMAM play as an ensemble, Hilmarsdottir really draws your eyes as the center of attention, occasionally playing a bass drum on the side and being the most animated of the performers. She is the motor that drives the band live and gives it a distinctive character.

As with any concert where the band emphasizes brand-new songs, the audience saved the majority of their enthusiasm for their favorites from the album they knew, and this show was no exception.“Slow And Steady” was the first song from MHIAA and got a big crowd reaction, and the show reached an early peak with an enthusiastic rendition of “Mountain Sound”.

Predictably though it was “Dirty Paws” and especially “Little Talks” during the encore that blew the roof off the Echostage as the pent-up enthusiasm of the crowd was released. It did seem to me that the band seemed slightly uncomfortable playing their intimate songs to a 2,000+ person ecstatic, bouncing crowd and I do think that their future is going to be playing more acoustic and intimate shows; in either case though I think that this is a band that’s in it for the long haul.

Overall, a very nice performance by an up and coming young band. I’m looking forward to hearing the new album and hearing how it compared to what I heard last night. Definitely worth seeing if they come to your town.

“Beneath the Skin” is released world-wide on 2015-06-09 while “Crystals” and “I Of The Storm” are already available on iTunes and on streaming services like Spotify.

To get a general feel for their sound in concert, here’s their set from Bonaroo 2013: