In Concert Archive

Michael Connor

Michael Connor

Wednesday, 27 April 2011 13:29

Point Break Live! A Most Atypical Experience

 Fans of Point Break(the movie) and oddball irreverence are being given a rare treat at New Rock Theater. I use the term 'fans' loosely, in the way that arts and entertainment can be enjoyed and respected in ways not always intended. Among other things, Point Break Live is just what it's titled – script and scenes taken from the 1991 major motion picture brought to life in front of a live audience. In case you've never seen it, (very basically)Point Break tells the tale of quarterback gone FBI agent Johnny Utah, who must go undercover to bust a gang of surfing bank robbers. Putting on a comedic focus, it turns into a zany production.

 

To start - arguably the best idea in the show is that Johnny Utah, the main character, is played by a different audience member each night. This idea is at the same time risky and ingenious. Despite whatever experience the Keanu participant might have in acting, he could easily be rendered inept by the cumbersome cue cards, onstage admonishments, and other abuses. Indeed, many of the memorable parts of the evening were when the actors would break character to berate or molest Johnny into an awkward stumble. Here I must add a notable mention of the hyper-impassioned cue-card girl(also playing as the Keanu stunt double) designated to help the Utah deliver, whose outrageous motivation so often provided an excellent counterpart to the superflat Johnny Utah.

 

The show overall was aggressively engaging, sparing no one from becoming a liquid - or verbal - target. To the relief of most, ponchos are provided from the start. Reliable for most of the show, but don't count on this plastic covering when commences the 50-year storm. The concept of a stage is also repeatedly dismissed through interactive fights, chases, and robberies.

 

The type of humor used in PBL is best enjoyed with a thorough knowledge(or at least a viewing) of the film beforehand. My experience would not of been nearly as enjoyable had I not watched Point Break during the week I planned on going. While that might make it sound limited to referential/inside humor, it is the loose, spirited mood that makes attendance worthwhile. Shirtless characters doused in bro-love take on a bizarro likability from what they were in the movie. Favorite lines get shouted from the seats. The whole cast seems to be up on having fun, and participates naturally in moments of improvisation between and during scenes. All that and a conveniently located bar offering (reasonably-priced)drinks throughout the show makes this a cool, casual event to check out.

 

 

There are still a couple weeks left to catch Point Break Live!. The show will continue to run on Friday and Saturday nights at 10pm through May 7th.

 

New Rock Theater is located at 3931 N. Elston Ave..
(between Drake Ave & Central Park Ave)
Chicago, IL 60618

(773) 866-0200

 

hank2Grandson of country icon Hank Williams, Hank Williams III(aka Hank III, or III) puts on a show that is truly unclassifiable.  Known to typically perform for three hours, Hank III plays classic style country  back to back with hardcore metal, often blending elements of both into single songs.  Last Saturday I had the privilege of witnessing this uncommon feat at Eagle's Club in Milwaukee.

 

Lasting an hour and a half, his country set alone could stand as a full concert.  These songs averaged around three minutes each, so you can imagine how many tunes had to be played to fill that time.  Hank dug into the best of his material from the last decade, including nearly all of Straight to Hell, as well as a few from his 2010 release Rebel Within.  Along with the III originals, there was also a performance of Hank Williams' “I'll Never Make it Out of This World Alive.”

 

As your ears start to twitch with country twang, you begin to welcome a change of pace.  After finishing up “Dick in Dixie,” III's denouncement of 'pop-country', there begins a segue set of 'hellbilly' music. This consists of the same lineup of musicians, only that Hank switches to electric and the band lets their hair down.  It's rougher and a tad faster, and gets the crowd pumped up and moving.  By the time this part of the show wraps up it has been over two hours.  I noticed some people starting to leave, but the inexhaustible Hank III returns to play out the night with Assjack.hank1

 

At this point the band had all reworked their wardrobes and plugged into more standard rock equipment.  I prepared myself for the possibly horrendous, awful imitation of Hank's metal inspirations.  It’s sometimes fit to say an artist should stick to what they do best.  As it turned out, Assjack wasn't a half-assed act - or half-bad.  Transcending many of the heavier music genres, drawing from metal, punk, grind and touches of thrash, Assjack allows for a release of restlessness for those not yet ready to go home.

 

While admittedly not the most accessible attraction, a Hank III show is no doubt an impressive demonstration.  The way Hank and his ‘Damn Band’ mutate their evenings convinces me of a working formula that couldn’t be pulled off by just anyone.  This is an energetic group, and hardworking to be sure.  Hank seems to be immersed in an incredible musical living.  Along with his prolific song writing, he records, mixes, and masters many of his own projects.  The latest Assjack album was even performed entirely by Hank III.  If you have a broad appreciation in music, or like your headliners to give you your moneys worth, check this act out.

 www.hank3.com

http://www.youtube.com/watch?v=Tn5Ha3Ufh-M&feature=related

Thursday, 08 April 2010 12:42

Xiu Xiu and Tune-yards at Lincoln Hall

altJoining Xiu Xiu for his tour was a surprising treat called Tune-yards.  Consisting of multi-instrumentalist Merrill Garbus, with some help from a bassist, Tune-yards exhibited some of the most impressive live looping and song creation that I've ever seen.  Garbus' voice alone was an incredible talent.  Using several different styles, often in the same song, she conquered the range of throaty yells, fluttering falsettos, powerful belts, even a unique type of yodeling.  On top of vocal duties Garbus also operated the looping device, creating rhythms and voice harmonies right before your eyes and triggering them during the songs.  She situated herself between a floor tom and a snare, using the rims and mic stands percussively in developing beats.  When she wasn't banging the tom and snare she was playing what appeared to be an electric ukulele.

 

In my excitement I did purchase Tune-yards' CD, but unfortunately the album does not do justice to what I had witnessed.  While it works as a nice reminder of their performance, it lacks the entrancing grip that their live demonstration provides.  The album, titled Bird-brains, is a pleasant and intimate listen but with a lo-fi quality that dampens the expectations I pulled from the show.  The sound in Lincoln Hall was fantastic, and all aspects of the songs shined.  While there are a few songs on the CD that I can still enjoy(such as Sunlight and Hatari) and many that are downright relaxing, this act is best in the flesh.

 

 

Xiu Xiu took the stage quietly and began with a gentle opener.  Employing his trademark near-tremble sing, Jamie Stewart imparted a somber song: “My father was the second man to be inside you...” His vocals are passionate, confession-like utterings, teetering with intensity and often breaking into emotional outbursts.  Beside Stewart's voice and guitar was Angela Seo, who would tinker with the many backing electronic devices and controls.  In contrast to the simplicity of Tune-yards' setup, Xiu Xiu surrounded themselves with tall cymbal stands and various percussion, along with a large table cluttered with visible wires and knobs.  The toys are not superfluous either, this being especially clear when your ears are under assault from the noise avalanches that occur within half of Xiu Xiu's repertoire.  Both members have a go at the equipment, operating the many dials and gizmos laid about like surgical utensils.

 

The music of Xiu Xiu is a difficult thing to describe.  Albums will usually run the range of overloaded sound experimentation to delicate acoustic numbers.  Lyrics, when discernible, primarily will wield a sort of depressing if not disturbing weight.  Some of the audience will laugh at certain lines of dark humor, while others may get turned off or even genuinely concerned with how acutely Jamie Stewart delivers his themes.  If they are funny it's because they are so piercingly sharp that if you weren't laughing you'd be crying.  One thing I did not anticipate at a Xiu Xiu show was dancing, but this night the set was very beat heavy.  Don't let that mislead you into thinking it was upbeat and bright, as it could hardly be considered as such with lyrics like “Dear god I hate myself, dear god I hate myself...” 

 

I highly recommend seeing this show if you get the chance.  Xiu Xiu and Tune-yards possess fine performance abilities, and despite having little similarities in sound their coupling provided for quite the enjoyable evening.  Remaining dates on this tour can be found on Xiu Xiu's website:

http://www.xiuxiu.org/

 

xiu11

 

You can also check out Tune-yards' website here:

www.tune-yards.com

flaming-lips-ballI retrieved the rum from its hiding place feeling like a teenager sneaking booze into a friends house. The lack of searching at the gate further revealed itself in copious cloudsmokes of reefer, which created an almost constant scent in the crowds. Oh, and the following are some additional details on selected artists and occurrences from Pitchfork on Sunday July 19th.
Wednesday, 07 April 2010 22:51

Xiu Xiu and TuNe-YaRdS

Joining Xiu Xiu for his tour was a surprising treat called Tune-yards.  Consisting of multi-instrumentalist Merrill Garbus, with some help from a bassist, Tune-yards exhibited some of the most impressive live looping and song creation that I've ever seen.  Garbus' voice alone was an incredible talent.  Using several different styles, often in the same song, she conquered the range of throaty yells, fluttering falsettos, powerful belts, even a unique type of yodeling.  On top of vocal duties Garbus also operated the looping device, creating rhythms and voice harmonies right before your eyes and triggering them during the songs.  She situated herself between a floor tom and a snare, using the rims and mic stands percussively in developing beats.  When she wasn't banging the tom and snare she was playing what appeared to be an electric ukulele.

 

In my excitement I did purchase Tune-yards' CD, but unfortunately the album does not do justice to what I had witnessed.  While it works as a nice reminder of their performance, it lacks the entrancing grip that their live demonstration provides.  The album, titled Bird-brains, is a pleasant and intimate listen but with a lo-fi quality that dampens the expectations I pulled from the show.  The sound in Lincoln Hall was fantastic, and all aspects of the songs shined.  While there are a few songs on the CD that I can still enjoy(such as Sunlight and Hatari) and many that are downright relaxing, this act is best in the flesh.

 

 

Xiu Xiu took the stage quietly and began with a gentle opener.  Employing his trademark near-tremble sing, Jamie Stewart imparted a somber song: “My father was the second man to be inside you...” His vocals are passionate, confession-like utterings, teetering with intensity and often breaking into emotional outbursts.  Beside Stewart's voice and guitar was Angela Seo, who would tinker with the many backing electronic devices and controls.  In contrast to the simplicity of Tune-yards' setup, Xiu Xiu surrounded themselves with tall cymbal stands and various percussion, along with a large table cluttered with visible wires and knobs.  The toys are not superfluous either, this being especially clear when your ears are under assault from the noise avalanches that occur within half of Xiu Xiu's repertoire.  Both members have a go at the equipment, operating the many dials and gizmos laid about like surgical utensils.

 

The music of Xiu Xiu is a difficult thing to describe.  Albums will usually run the range of overloaded sound experimentation to delicate acoustic numbers.  Lyrics, when discernible, primarily will wield a sort of depressing if not disturbing weight.  Some of the audience will laugh at certain lines of dark humor, while others may get turned off or even genuinely concerned with how acutely Jamie Stewart delivers his themes.  If they are funny it's because they are so piercingly sharp that if you weren't laughing you'd be crying.  One thing I did not anticipate at a Xiu Xiu show was dancing, but this night the set was very beat heavy.  Don't let that mislead you into thinking it was upbeat and bright, as it could hardly be considered as such with lyrics like “Dear god I hate myself, dear god I hate myself...”

 

I highly recommend seeing this show if you get the chance.  Xiu Xiu and Tune-yards possess fine performance abilities, and despite having little similarities in sound their coupling provided for quite the enjoyable evening.  Remaining dates on this tour can be found on Xiu Xiu's website:

http://www.xiuxiu.org/

You can also check out Tune-yards' website here:

www.tune-yards.com

flaming damesI spent my most recent Saturday at a place called The Spot.  The upstairs area of this venue contained tables and chairs, a bar, and a stage.  I knew what I was here for, yet did not know what to expect.  This place, or Spot as it was, reeked of a casual crowd, all gazing their gawpers on the site of anticipated entertainment.  The stage was small and intensely surrounded by seating.  When the program begins, a woman of impressive bust and brogue introduces our evening and primes us for the main events.  She is soon interrupted and joined by a goofy gentleman claiming to be the "king of mardi gras."

David Bowie Christmas SpecialThe show claims to be inspired from a never-aired Christmas special that was planned for 1977, featuring David Bowie and friends.  Creation took place with the help of “network notes and space technology,” altered to a humorous irreverence and rock star deprecation.  While the stage is composed of just one set piece...

Texas Chainsaw MusicalThe show began with a narrated introduction in darkness, with every 'massacre' being replaced with a gleeful 'Musical!'. Establishing a humor that would be present throughout, a single light shone on an armadillo. The five victims are carelessly cruising the rurals of Texas, singing about the amazing heat. Trouble begins with the picking up of a strange hitchhiker...

 

 

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