Items filtered by date: November 2007

After a pretty big media sweep in the days leading up to the show, Nelson jogged people’s memories about who they were, are, and want to be in their music. Taking the stage last night at Tailgaters, fans were given the past present and future in a high energy, and fun show.

These smaller venues suit Nelson more than the early stadium rock days, because they seem to be at a level in their careers where making a connection to their fans is more important to them and the music than being part of a huge marketing machine.

It was kind of fun to see the video montages before Matthew and Gunnar took the stage, because things look totally different after twenty years. (Like bright red thigh high leather boots on a dude isn‘t exactly cool…I‘m talking to you, Gunnar. But when I was 12, they were hot and made him a Golden God.)

Yep, you read that right, twenty years since the release of "After The Rain." Thanks to Matthew for bringing that up and making me face the denial that is my thirties. But they had a great sense of humor about it, asking the crowd for a show of hands if they saw Nelson the last time they came through Chicago…then keep them raised if you were 6...

I was 13... do the math… yikes.

And at Friday’s show, all nostalgia aside, there on spotlight, was the songwriting and musicianship that had been glossed over during the whirlwind first part of their career.  Nelson came out and delivered the hits, as well as some new stuff to look forward to.  Despite some audio issues (I thought Matthew was going to whip his monitor at the sound board guy there for a sec), they had a solid sound with great collaborating band mates,  and gave studio quality the whole show. This is not the manufactured teeny bop pop band they were cookie cuttered into 20 years ago. These guys know their way around music, and shouldn’t be overlooked.

I will say, that after catching some of their acoustic shows, that is a genre that fits them like a glove. While the show was great, an acoustic set would’ve been a treat.

So, great show, check out Buzz’s interview with Matthew Nelson , for more info on Nelson’s journey over the last fifteen years.

Set List:

Fill You Up

More Than Ever

A Girl Like That

Love and Affection

Just Once More

Ghost Dance

Evermore

Only Time Will Tell

I'm Alright

After The Rain

Won't Walk Away

Invisible Man

It's All About You

Everywhere I Go

From the Neo-Futurists website:

Do you have what it takes to lord over your employees or are you doomed to a life in the mailroom? Find out in the Neo-Futurists' new interactive live musical game show. CRISIS is modeled after classic game shows of the 70's, 80's and 90's, challenging players in areas of corporate ethics, percentages, creative potential, economics, and of course, pop culture. Players climb the corporate ladder and the top executive takes home up to a third of the door sales in cash! (With a sell-out house, that means over 500 bucks to a single winner!) Also, 3% of all ticket sales are donated to charities of the winners' choice.

From the moment you walk in to the Neo-Futurarium (5153 N. Ashland Ave. -- corner of Foster and Ashland Aves -- Chicago, IL 60640-2831 -- Show Hotline: 773-275-5255), you're aware that something memorable is about to happen. The floor twists and turns down a hallway lined with wonderfully bizarre pictures leading to "The Kitchen", where tickets are purchased and you are presented with the option of taking a scantron test to be a contestant on the show. In the next room, projectors shine the test questions on surfaces scattered about the room (walls, ceilings, etc) while members of the troupe entertain and amuse.

The questions on the test ranged from movie trivia about Back to the Future to political history to physics.. it certainly takes a well-rounded individual to achieve a great score and win the right to play the game that evening.

With the tests complete and the top contestants read off, everyone files into the theatre itself to begin the evening's festivities! I won't spoil the show, but it was easily the most entertaining couple of hours I've had in a long time. Players compete in a series of off-the-wall games and competitions almost designed to be unfair (but in a good way.. not sure what that means? I"m not really either!). There are a scattering of well-performed musical numbers, backed up by the very talented band (who also add to the performance in a variety of ways, including at one point in the show when there were some technical difficulties and they had to kill a little time with an improv jam that I would call "Technical Difficulties"), and all of the performers absolutely killed their respective parts.

What's not to like about the topics discussed in the show? Globalization? Socio-Economics? Why not learn a little bit while having a night out on the town.. And what other show gives you the possibility to make hundreds of dollars in cash as an end result? Gripping.

I liked this show more than I like Mint Chocolate Chip icecream.. and that's my favorite flavor. I'll be seeing more of the Neo-Futurists, and I have no doubt that they will continue to be successful in their endeavors.

On the heels of their critically acclaimed 2009 album Beast Rest Forth Mouth, Brooklyn’s Bear in Heaven returned to Chicago Thursday night for the final stop of a three-month tour to support Canadian indie superstars Metric at The Vic. The propulsive 45-minute set covered most of Beast Rest and was dotted with material from the group’s 2007 debut LP Red Bloom of the Boom.

The band quickly caught and held the attention of the sold-out theatre with a cavernous sound that suited the venue and belied the group’s small lineup (usually featuring four members, Bear in Heaven played on this night as a trio) and spare instrumentation. Bandleader and sometime guitarist John Philpot anchored the sound with a strong tenor reminiscent at times of Perry Farrell, My Bloody Valentine’s Bilinda Butcher, and even, oddly, REO Speedwagon’s Kevin Cronin. Philpot also provided the band’s signature electronic texture with keyboards and programming effects that featured prominently in all of the band’s songs.

Highlights of the set included Beast Rest standout “You Do You,” which alternated a sinister synthesizer line with pounding drums provided by Joe Stickney and a minimal vocal melody by Philpot. The atmospheric, usually understated “Lovesick Teenagers” took on a new, muscular quality in a live setting, Philpot howling the chorus as guitarist Adam Wills and a wash of synthesizers created a wall of white noise that filled the venue. The set’s cathartic peak came with the droning, hypnotic “Dust Cloud,” Wills adding shimmering layers to a skeletal song framework that saw Philpot’s voice interacting with Stickney as an additional component of the rhythm.

As the set went on, the venue filled and devotees of Metric (and of their iconoclastic frontwoman Emily Haines) moved closer to the stage to have a better vantage point from which to see and hear Bear in Heaven. Upon remarking that the place was filling rapidly, Philpot said simply, “that’s really good.” It was.

Bear in Heaven returns to Chicago in July for a featured slot at the annual Pitchfork Music Festival in Union Park. More information about the band can be found at http://www.bearinheaven.com or at the band’s official Myspace page: http://www.myspace.com/bearinheaven .

The dimly-lit, small storefront Side Project Theater in Rogers Park lends itself perfectly as the setting of a seedy, closed-door meeting in which a closeted senator and his barely legal boy-toy would rendezvous; combine that with a superb cast and a flawless screenplay and the result is a the perfect-storm great and hilarious fictional play, but based on a true story. “The Gay American” follows former Governor James McGreevey, (R) New Jersey, in the months and weeks before his infamous fall from power. In this “farce meets docudrama” the story weaves actual events in the early 2000’s and a fictional, comical, and scandalous events in political world filled with lewd and lascivious sexual acts.

Neal Starbird brilliantly plays the former governor, whose public demeanor is of a man who would change New Jersey for the better, but whose private life is juxtaposed between the person he is expected to be -- the straight laced, black coffee drinking politician -- and the person he wants to be – a gay man who is proud to express his feeling for a young page… named Page. Starbird brings McGreevey to life; a charming man who, like any good politician, knows that promises get you votes and that “favors” are part of the daily communiqué between colleagues. He hilariously navigates his character through the political world to the likes of Mark Foley, (R) Florida, and another closeted member of congress. From having his young Page move in to his home, to taking his personal aid, an Israeli named Golan, to a gay nightclub; Starbird is the perfect caricature of the real life McGreevey. He cleverly talks his way out of trouble with double entendres at times and even “tap dances” his way out of trouble with the press. One of the best scenes in the play is one in which McGreevey dodges accusations of homosexuality and a young page named Philly Buster, brilliantly played by Freddie Donovan, literally tap dances to the rhythm of McGreevey’s speech. It’s that in-your-face humor and storytelling that makes this play a stand out and one that needs many more stages.

Aside from McGreevey’s internal and external struggles, the play also examines what “could-have-happened” behind the scenes before the infamous speech in which McGreevey announced to the world “I am a gay American,”… words that swiftly ended his political career. What makes “The Gay American” great is that the line between fact and fiction is blurred. Like a cleaver politician, director Kristian O’Hare weaves truth with make-believe, creating the complicated and scandalous world of the former governor. She takes a hard look behind-the-scenes of the American politician and his family, and examines the harsh repercussions and collateral damage of one man’s choices and actions. One of the most notable performances is Dina McGreevey, play by the talented and witty Julie Cowden. She portrays the “perfect” politician’s wife, but as her husband’s exploits and extracurricular activities begin to surface she delves into a pained and tragic heroine turning to alcohol and drugs to keep going and looking to Oscar Wilde’s dead apparition of a wife for comfort and advice. McGreevey’s daughter Morag “it sounds like a sea monster” McGreevey, played by Stevie Chaddock, is the epitome of teenage angst, experimenting with cutting and online dating and dealing with thoughts of selling her virginity on EBay. McGreevey’s world is anything but perfect and the audience member is constantly asking, “What really happened?” Did Governor Mark Foley really use and abuse young and idealistic young pages? Did Dina McGreevey really suffer from post-partum depression? Did McGreevey really have an affair with his aide Golan? Are pages really belittled and used as sexual play-things to the whose-who of D.C.? And just where is the line drawn between what is morally acceptable and what is right? This play is so well written that much of what is portrayed could have actually happened this way.

This is American Political Theater at its best, and O’Hare could not have cast a more cleaver, witty, and hilarious cast of characters. I hope you won’t have a “momentarily lapse of judgment” and miss this show. It is only around until May 26^th at the Side Project Theater, located at 1439 West Jarvis Avenue, so go cast your vote for this fantastic play before its term is over.

Wouldn't it be cool to take a trip to outerspace, and check out what The Jetsons, Mork, and the cast of Star Trek have been up to since their Tv Shows? Therefore, considering a seat on a Space Shuttle to blast off to the moon costs millions, about $20 to hear "Spacemen 3's" music, that has the ample supply of "fuel" to project a person onto another planet, is probably a more feasible option for most earthlings.

It was a rare opportunity, indeed, to see two members of the influential band "Spacemen 3" play together, again. The two English born and raised "bandmates," Jason Pierce (A.K.A. Jason Spacemen) and Peter Kember (Sonic Boom), had enough hates toward one another they had went their separate ways in the early 90's. It has been reported Pierce's chemical dependencies were the "final straw" that broke the band's back (www.myspace.com/spacemen3 2010.)

"Spacemen 3's" run had sprung in 1982, and they were marked for "rocketing" the "shoegazing movement" from "sea to shining sea." Also, their sound is well-suited and fitting of the genres termed "post-rock,"space rock" and "neo-psychedelic." Additionally interesting, is "Spacemen 3's" goal was documented as being: "Taking drugs to make music to take drugs to." "Spacemen 3's" second album, appropriately titled "The Perfect Prescription," ignited their still "kicking" cult fan base who deem it as the band's "masterpiece" (www.myspace.com/spacemen3 2010.)

Now, one month after 4/20, Jason and Peter are to magically appear in Peter's band "Spectrum," which he had formed after "Spacemen 3" "went up in smoke."

When I arrived at The Darkroom, in Ukrainian Village, a light bulb went off in my head. The venue displayed artwork of images created by flames on fabric. Hmmmm, maybe I can make some good cash from the burn holes I have on my comforters, from all the times I've passed out in bed with a cigarette still lit in my hand? Such pieces at The Darkroom are priced at $475! And, do have obvious careful artistic skill, plus talent to them compared to my burn-hole "accidents," however.

Another surprise to me, was there weren't any green-colored species, with cadillac-sized foreheads or alien saucer-like eyeballs, inhabiting the venue to catch "Spectrum's" performance. The main age frame of the fans in earth years was 30's--they wore hip clothes, and a few seemed crazy or super-glued to the front of the stage. They weren't budging, and clearly were determined not to miss getting any "hits" of "space-rock" when Jason Pierce and Peter Kember were to take the stage, after already waiting over two decades since their alienation. Ya gotta love and admire fans who are so stuck on a band and devoted!

Almost immediately following Kemper getting up on stage, and the band playing their first song of the evening, he took a flying leap off toward the sound guy to make some adjustments. Regardless, of the intially heavily irritating sound difficulties, I was eventually "sucked in" to "Spectrum's" "minimalism" style, absent of a wide array or variation of chords, drum beats and intensity of drum pounds, as well as vocal pitch and range. Plus, Kember seductively spoke just about all of the songs they played, sounding so much like Jim Morrison's voice, I couldn't help but wonder if he was channeling him all the way from his grave in Paris, France to the U.S.A. Some dead guys are "dug" to the extent of coming up with a lot of "frequent flier miles," if you will.

Kember lived up to his noted "hypnotic otherworldliness legacy," and not a single soul dashed for the exit or "Porcelain God" from the start to finish of "Spectrum's" performance (www.sonic-boom.info/spectrum.php 2010.) The four-man set, possessed with their droning guitars, eerie theremin and keys, and typically "chill" demeanor, made them suction-cups to people's pupils. Crazy glue is known for being long-lasting and working extraordinarily well, though, too!

As expected at a "Spectrum" show, they performed most of their songs, and their one "You Satisfy Me" was the highest fan-pleasing. However, the audience's hunger for "Spacemen 3" tunes was satiated when the band performed "Revolution" and "Suicide" later in their set.

Fans "cranked out" dance moves that were "eye-brow raising"--highly unusual, yet in a refreshingly mentally stimulating and invigorating sense. For instance, there was a ballerina babe, in a 1950's-style, perfectly tailored and form-fitted blouse and pants, topped with all black stilettos, twirling, spinning, all the while "sporting" gracefully set hands and fingers.

Plus, there was a guy looking as if he was pulling a semi-truck horn while he moved his head and neck forward and backward, and marched in place to "Spectrum's" monolithic beats. Or was one to believe he had to pull an imaginary string to be able to have his extremities "come to life?"

Anyway, the opening band "Apteka," were on the other end of the scale since their pieces were wildly lively, loud to the max, and colored by unpredictable instrumental detours--I couldn't figure out where they were going to go next during their songs. Also, Apteka's drummer played with amazing strength, perpetuating lots of "Woo's!" from the rocked crowd. Their new song "Death" I suspect is strong enough, as well, to awaken a drunk passed out in her car on the railroad tracks.

In close, Jason Pierce is to continue performing in his long-living "neo-gospel" and "trance-rock" band "Spiritualized," and "Spectrum" has a new album said to be released toward the end of this year (www.sonic-boom.info/spectrum.php 2010.) I am going to make a wish upon a star Pierce and Kember will play together again soon, and have another dead guy, Timothy Leary this time, "fly in" for it!

Sources:

www.myspace.com/spacemen3  

www.sonic-boom.info/spectrum.php  

Improv. The very word can evoke an immediate response of laughter, or horror. So what a perfect combination it would make to combine Improv with horror? “Slasher” The Improvised Horror Show playing Fridays at 11:30 at the Gorilla Tango Theater combines improve with the classic formula of a horror flick. But like any good B-rated horror film “Slasher” was one long run-on, lacking any real plot or character development, and aiming for a quick laugh (or scare) rather than building momentum.

The concept behind “Slasher” is intriguing; the cast surveys the audience to choose the general plot and storyline of the horror film, basics such as location, sin the townsfolk are committing, the killers’ deep-seeded troubles that motive him to kill, and of course the way the killer murders his victims. They even ask a random cast member about themselves and transplant their life story into the main character. That lucky cast member actually happened to be me and I was turned into the main character, which made it rather funny for me to watch.

But seeing myself turned into a stereotypical softball player was not enough to hold my attention. Thirty minutes into the improve-horror flick show and I was waiting for a dancing hotdog to break out into “let’s all go to the lobby” to take a quick break (or look for a quick getaway). It wasn’t the concept that failed the show, it was the continuity.

One of the big let-downs in the show was the lack of cohesion amongst the actors. “Slasher’s” cast was made up of a unique ensemble that, individually, was quite funny, delivering witty one-liners and zingers. But the cast often tried to talk over each other and some were visibly upset when they were not able to deliver a line. That’s one of the key factors that separate good Improv from amateur Improv, that and the brilliance of perfect comedic timing and a sense of humor.

“Slasher” had some funny moments and even evoked a chuckle once or twice, and any fan of horror films will enjoy the spoof on the traditional horror formula.

Gorilla Tango Theater is located at 1919 N. Milwaukee Avenue. For more information on the many shows offered visit: www.gorillatango.com.

“I don’t remember the place and time, but I think I remember your eyes...,” Jann Klose’s lyrics from Beautiful Dream, arguably one of the best songs on his latest CD Reverie, beautifully showcases the singer songwriter’s talent, and captivates the listener, bringing them into Klose’s world.

The Johannesburg, South Africa and Hamburg, Germany native, who now resides in New York City, opened at the Skokie Theater, just outside of Chicago, for Anne Harris, another beautiful singer/songwriter. The two artists were supportive and respectful of the others’ talent and they treated the audience to a musical collaboration, accompanying one another during the others’ sets, and it is safe to say that the two storytellers were meant to meet perform together.

 

Klose’s soulful and distinctive voice captivatingly holds you throughout the entire performance, each song segueing seamlessly into the next. His poignant and smart songwriting radiates with warmth and worldliness. From Watching You Go, a song written for Klose’s grandfather who helped raise the musician, to All These Rivers about journeying and self discovery are simply brilliant works. Sadly, Klose’s performance at the Skokie Theater was hindered by bad technical feedback on the bass, the lack of a full band, and was at times bordering on indulgence, straining to perform when his storytelling and natural talent would have sufficed. Yet when listening to Reverie the artist is completely redeemed. This is an artist that is difficult to find in this day and age. His music is smart, relatable, and radiates with the passion of a true artist.

Klose ended his set with The Beginning, a charming segue into the beautiful Anne Harris and her band. Anne Harris, the Chicago-based vocalist and songwriter brings an enchanting and sweet demeanor to her folk-pop music. Leading the vocals and playing the fiddle, Harris captivates the audience with her charming, and often very funny, disposition. She invites the audience in with such beautiful songs as Leaves Turnin’ and Love is the Light. Like Klose, Harris has a worldly air to her songwriting, poetically telling stories of love, loss, and life.

Both artists are stars to watch, and should they blow into the Windy City again, hopefully performing together, that is one show you will want to experience.

What an exciting sold out Yeasayer show at the Metro Thursday night. After Slieghbells finished their set and the sound crew completed what they were doing, the audience slowly got louder as the lights dimmed – Yeasayer was about to take the stage. Yeasayer walked to their positions and began singing, “We are children and we’ll give you trouble if we don’t like what you’re doing…” But trouble is not what the “children” of Yeasayer gave to their audience that night. What they did give was a quality performance with jivey feel-good music. The lyrics mentioned earlier are from the song The Children, which is the first track from their second album, entitled “Odd Blood”, released in February of this year. Since the majority of their songs are lively and upbeat, the ominous tone of The Children was a good choice for the outset of the performance. Other songs played from their “Odd Blood” album include O.N.E., Mondegreen, and Ambling Alp.

Half-way into their performance, Chris Keating (lead vocals) thanked the other bands (Chandeliers and Slieghbells) for playing and said that, “They fucking rock!”. During this time, Keating mentioned that he lived near the Metro in the past and pointed to his upper right (at the balcony) claiming he sat there during a performance years ago. Keating did not make clear which performance he saw because he was apparently embarrassed about it. Later on he made a joke and said that it was “Nickelback” he saw - after which the crowd “Boo’d” and some flaunted their thumbs in the down position, others laughed.  Closer to the end of their performance, Keating suggested (more earnestly) that it was a Slayer/Megadeth show that he attended.  Keating also stated several times, throughout the performance, that he was thankful to play in Chicago and was having fun.

The singles played from their debut album “All Hour Cymbals” (2007), included Wait for the Summer, 2080, and perhaps most notably Sunrise, which closed the show as Yeasayer’s encore. Sunrise created a memorable scene – many people raised their hands in the air while rhythmically clapping to the jam-band like beat of the song. In fact, all of the music that Yeasayer played enticed many people to either clap or dance. The sound of their performance was definitely outstanding. The vocals almost mirrored their studio produced sound as did many of the instruments. The Metro is a great place and Yeasayer played fantastically. However, if you decide to see a show at the Metro and plan to buy beverages, be sure to bring cash because at the bar they did not accept cards the night I was there. I would certainly revisit the Metro and if Yeasayer ever comes back to play in Chicago I will absolutely attend.

 

When I heard of a Broadway musical starring foul-mouthed puppets I thought this could just possibly be the best thing ever. Avenue Q did not disappoint. It exceeded all of my expectations and more by delivering hilarious dialogue, witty songs and full frontal puppet nudity (which is always shocking). In short, I loved it and I am willing to go so far as to say Avenue Q is the most enjoyable musical I have seen since Spamalot.
 
Imagine, if you would, Sesame Street if it were reformatted for late night on HBO. In a nutshell, that’s what this show is. It features starry-eyed puppets and their human companions doing their best to find decent jobs, stable relationships and their “purpose” in New York City. The storyline itself isn’t exactly original however the way it is told and performed on stage puts Avenue Q in a league of its own. You could easily watch this show multiple times in order to thoroughly appreciate the puppets and the puppeteers who are easily as animated as the puppets they control.

The story begins with Princeton (Brent Michael DiRoma) arriving on Avenue Q. He’s a fresh out of college puppet who has to figure out what job he can actually obtain with a BA in English. He’s optimistic but only because he isn’t quite prepared for post-college disappoints. Life on Avenue Q changes Princeton by challenging his idealism. His neighbors all have big dreams, little traction and live by the infectious motto, "It sucks to be me." During his stint on Avenue Q, Princeton ends up getting downsized before he even starts his job, he falls in love with a slightly racist monster, dumps her to focus on finding his purpose, takes ill advice from the Bad Idea Bears, and then ends up having a one night stand with Lucy T. Slut.

The music and lyrics done by Robert Lopez and Jeff Marx are hysterical. Songs like 'The Internet is for Porn,' 'Everyone is a Little bit Racist,' and 'The More you Love Someone, the More you want to Kill Them' are not only fun but also surprisingly catchy. This show truly delivers on all fronts.

For lack or a better description, Avenue Q is the wrong side of  Sesame Street offering no holds bar life lessons for adults. Regardless of the laughs, Avenue Q tells the tale of coping in the real world and finding a good circle of friends. It really is a coming- of- age tale for the twenty and thirty somethings and reminds us we could benefit from a little childlike whimsy in our own messed up adult situations.

Life on Avenue Q is rather colorful. The building super is a grown-up Gary Coleman (Nigel Jamaal Clark and yes he is supposed to be the same Gary Coleman who played Arnold on Diff'rent Strokes). The neighbors include Rod (Brent Michael DiRoma), a closeted investment banker; Nicky (Michael Liscio, Jr.), Rod's room mate who resembles a green Ernie; Matt (Tim Kornblum), an aspiring yet unemployed comedian and his Japanese-born fiancee Christmas Eve (Lisa Helmi JohaPnson); a porn loving recluse named Trekkie Monster (Michael Liscio, Jr.); and an earnest kindergarten teaching assistant, Kate Monster (Jacqueline Grabois). 

This critically acclaimed, 3-time Tony award winning musical will only be in town until the 9th.  In my opinion, this is a must see show. Tickets range from $25- 75 and are well worth the admission price. Given the set and the layout of The Bank of America Theatre, a lot of the balcony seats suffer from an obstructed view. I suggest spending the additional money for a decent seat.

For more information, check out Broadway in Chicago or http://www.avenueq.com/.