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by Jacqueline Howell

22 Feb 2010

Tortoise’s wide ranging, if short, February American tour greeted an eager crowd at Toronto’s Lee’s Palace (their lone Canadian stop) on Thursday February 18th. The show was intensely focused while remaining expertly loose, as their signature experimental, post-rock, jazz flowed with almost no introduction, interruption or chatter. Touring on the strength of their 2009 album, Beacons of Ancestorship, Tortoise’s show also heavily featured tracks from the older TNT, a setlist choice that was embraced by the crowd. Highlights included “Swung from the Gutters” (which still seems like it needs to be featured in a soundtrack to a Tarantino-esque movie), the still hot, dynamic title track, “TNT” (to which the packed crowd could only nod appreciatively although many of us wanted to dance), and “I Set My Face to the Hillside” with its evocative mood of an otherworldly Spaghetti Western. The new up-tempo single, rock based and typically cheekily-titled, “Prepare Your Coffin”, introduced new layers to the established tones of TNT. The music, whether a short, three minute track or seven minute epic, always seemed to evoke a unique mood and feeling, a mini narrative. All of this music flowed seamlessly through a set that saw band members switch instruments and positions on the suddenly miniscule-looking stage (which was dominated by two drum kits front and centre that faced each other, a nice thouch of further symmetry). Though there was hardly a word spoken to the crowd throughout the set, the musicians, like their wordless musical storytelling, spoke well for themselves, easily drawing the same enthusiasm as many a posturing rocker has clumsily begged for. The only complaint about a near perfect show is that the big sounds of Tortoise were criminally underserved in the confines of a medium sized rock venue like Lee’s.  In a perfect scenario they would always, and only, exist in midsummer at mid-evening of an open air music festival with space enough for the masses that should experience this event.

by Allison Taich

22 Feb 2010

Chicago blues master Buddy Guy had been tearing up the stage but 20 minutes before he ceased playing to admit: “I’m going to mess up tonight…you guys are making me feel good; I’m feeling real fucking good!” And with that Guy chuckled as his fingers danced about the neck of his guitar.  In response the audience naturally roared with delight, egging Guy to further unleash his musical spunk.

by Kirstie Shanley

22 Feb 2010

There may be only two members of Sweden’s Wildbirds & Peacedrums but they manage to make the most of it. Creating an auditory effect that is fully astounding, the married pair graced the stage at the Cabaret Metro in Chicago in a way that suggested they could easily draw attention to themselves in a venue ten times as large.

by Dave MacIntyre

19 Feb 2010

Mere minutes before The Antlers were scheduled to start their Tuesday night performance at The Phoenix Concert Theatre the stage was a blur of activity. The Brooklyn trio had only just arrived having faced delays at the Canadian border. Thanks to the efforts of an amazingly efficient crew gear was unpacked, plugged in, line checked, and ready to go in less than 15 minutes. The frantic arrival didn’t seem to phase front man Peter Silberman. Grinning, he stepped out to greet an anxious audience and quickly got things underway. Listening to the opening song “Kettering” and watching Silberman metamorphose from a jovial man of smiles and waves into a man devastated by the helplessness of cancer’s insouciant grip was nothing short of amazing. His haunting vocals paired with the dreamy melancholy of Darby Cicci’s keyboards and Michael Lerner’s driving percussion coalesced into a sound machine that consumed the room with its gravity. It’s no wonder the band’s 2009 release, Hospice, has been so critically acclaimed. The Antlers held the crowd’s attention with incredible versions of “Bear” and “Two”, songs filled with emotional heartache that naturally pours from Silberman on stage. Sadly, the brief five-song set only lasted 40 minutes, and despite most fans being in attendance to see the headlining Editors, very few would have complained if they played on.

by Christian John Wikane

18 Feb 2010

A Lone Star’s Amazing Flight

“They say don’t call it a comeback, but I say….call it one!” - Jomama Jones.

CD release concerts are always auspicious occasions. However, a CD release concert doubling as an artist’s homecoming carries extra weight.  Such was the premise when Jomama Jones recently took the stage at Joe’s Pub.

The brainchild of Daniel Alexander Jones, this ‘80s soul superstar has traveled the globe for the past two decades, most recently settling in Switzerland. In 2009, she returned to the US and began writing songs with Bobby Halvorson—who also became the musical director of her comeback show.  The result, Lone Star, produced and recorded by Jones and Halvorson, comprises nine original songs, plus an additional contribution from Grisha Coleman.  Thus the ninth of February was consecrated, marking the 21st century re-emergence of Jomama Jones in downtown New York—a long way from her Mississippi roots, even further away from the Swiss mountains, but ever so close to her devoted fans.

Flanked by The Sweet Peaches and a five-piece band, Jomama Jones delivered a 70-minute set that warmed the hearts and souls of bone-chilled New Yorkers. “It is a privilege and a pleasure to be back”, she cooed to the deafening applause that greeted her first two numbers, “Jomamasong” and “Endless Summertime”. Sensitive to a socio-political climate that was “inhospitable to soul,” Jones explained her reasons for fleeing the US 25 years ago. “Black power got turned off”, she said simply. “Somebody didn’t pay the bill”.

With the exception of the house-oriented “Roots in the River”, Jomama Jones performed Lone Star in its entirety. From the soul-stirring “Down Down Down” (a highlight) to the heart-stopping beauty of “Lilac Tree”, the new wave rock of “Uninvited Guest”, and the coy and clever “Show Pony”, Jones worked the sold-out crowd over with an intimate rapport and disarming stage presence.  Bathed in aqua blue light, Jones dedicated “The Mermaid” to the late Ana Sisnett and later thanked Rhonda Ross Kendrick for championing Lone Star from the page to the stage. In between, Jones graciously turned the stage over to The Sweet Peaches (Helga Davis, Grisha Coleman, and Sonja Perryman), whose performance of “Soul Uprising” intersected with “Uninvited Guest” and “Show Pony” as audience favorites of the evening.

“Pin your wish on me, I’ll carry it high”, sings Jones on the title track of her album. If she should make an appearance in your neighborhood, bring your wishes with you and join her for an amazing flight.

//Mixed media

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// Notes from the Road

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