Sound Tribe Sector 9 Goes Acoustic & Electric at Red Rocks (SHOW REVIEW)

Undeterred by a gloomy forecast, legions of Sound Tribe Sector Nine fans descended on Morrison, Colorado last weekend eager for a glimpse of STS9 “2.0.” The pioneering jamtronica band returned to the Red Rocks Amphitheater with a new bassist and a new sound, hoping to set a course for the future.

In the months preceding the six-set Red Rocks stand, STS9 underwent quite a personnel transformation. After former member David Murphy’s controversial exit, the group mopped up the electronic molasses slowing its music – digital muck that reduced even the most inspired playing to sludge. In its place a crispness sprung up, a lean clarity free of muddy and extraneous noise. Lacking cumbersome fat, new songs from the quintet delivered catchy and instantly accessible harmonies, breaking with years of confused and cold material.

As always, fan reactions were mixed. While some listeners approved of the intelligent, vocal-laden pop comprising songs like “World Go Round” and “Click Lang Echo,” others saw a grievous step in the wrong direction. Finding little comfort in the funk-esque “Totem” or the throwback drum and bass driving “New Dawn, New Day,” these unsatisfied detractors still hoped for radical regression, a full-blown return to loose improvisational epics. In this climate of doubt and division, STS9 returned to Red Rocks.

On Friday evening, the predicted rain came and went, leaving a pleasant chill in its wake. As the sun set, a slight breeze teased massive tarps draped over the band’s gear. A vibrant, multi-generational crowd slowly streamed into the majestic, ascending amphitheater, a sight contrary to the arguments of critics who dismiss the STS9 crowd as a collection of high school-aged “flatmbrimmers.”

Dressed in their matching black best, STS9 took the stage shortly after dark for an acoustic set, opening the evening’s “Axe the Cables” set with a potent rendition of “Low Swaga.” Applying a bow to her pristine stand-up bass, Alana Rocklin gave the number new depth, triggering a collective shout of appreciation. “Kamuy” followed, and the song’s beloved drum battle was a little different this time. Leaving their posts at the rear of the stage, drummer Zach Velmer and percussionist Jefree Lerner met in front of their band-mates as Lerner straddled a drum while Velmer sat on a block, and the two timekeepers hammered their respective seats.  Not to be outdone, Rocklin responded with a hearty breakdown, her fingers smoothly navigating the fat strings of the bass. The ever-adventurous David Phipps chimed in as well, wandering along the keys.

After that jazzy intensity, STS9 covered Freddie Hubbard’s “Red Clay,” a true jazz composition.  This unexpected foray into unadulterated jazz undoubtedly confused some fans who didn’t recognize the song, but the curveball cover gave others reason to hope. That long-desired free-flowing dynamic bubbled up here, and guitarist Hunter Brown tapped into his inner Wes Montgomery.

After the sublime crescendos of “Glen Tells Kengo,” “Native End” was, at long last, dusted off. Receiving its first acoustic treatment, the elusive Artifact track segued into the second portion of “Re-emergence,” another Artifact favorite. More gems, including “Tap-In” and the mellow “986 ft. Trees,” succeeded the pair. Normally densely layered and thoroughly electronic, “The Unquestionable Supremacy of Nature,” capped the set.

In short, this acoustic show contained some of the most fluid, relaxed and heartening music the band has played in a decade.

After a lengthy intermission and a massive, congested migration to Red Rocks’ handful of bathrooms, the first electronic set of the evening began. An “Unquestionable” reprise entered funky territory, somewhere the ominous rocker had never been before. As a slightly amended “Blue Mood” gave way to the bubbly ‘Twelve” and the inspirational message of the new song “Walk to the Light,” it became clear STS9 was executing a 180. The antithesis of the acoustic set, the second set consisted of no-holds barred, dance club-worthy electronica. A long stretch featuring an extended “Grow” and a segue binding “New Dawn, New Day,” “Surreality,” and “EB” derailed the steaming rave train.

Shortly thereafter, The Lazy Americanz fell upon Red Rocks like a gale; blasting a weird, distorted conglomeration of dark synth pop, dubstep and screeching psychedlica. Visibly put-off audience members made snide comments and cradled their embattled, throbbing ears. Others looked on in interest, warming and bouncing to the deafening surge. Though their music may be grating at times, The Lazy Americanz fill a void, bringing a hard, heavy edge to the mostly benevolent and warm livetronica medium.

With the ringing in the ears of the audience still persisting, STS9 returned for the band’s third and final set of the evening. The creeping, solemn “Scheme Reprise” kicked things off, yielding to an unremarkable version of “Evasive Maneuvers.” Then, a segue linking “Move My Peeps” and “Monkey Music” rescued the set from mediocrity. Hunter and Zach’s lengthy exchange during the final high-octane minutes of “Peeps” was matched by a smoking musical conversation between Phipps and Rocklin in the closing minutes of “Monkey.” Those minutes set the venue ablaze. Other highlights included a deep, spacious “King Pharaoh’s Tomb,” an “Abcees” strengthened by a scorching Brown guitar solo, and an encore consisting of “Somesing” and “South of Here.”

Ample sunshine and mild temperatures brightened Saturday. Though both nights sold out, the Saturday crowd seemed larger and far rowdier. Agog and aglow, painted and feathered revelers discussed the previous evening’s show, certain STS9 would impress yet again.

The Saturday edition of “Axe the Cables” began with “Human Abstract.” The band eased into the David Axelrod cover as the last trace of dusk faded.  The group moved on to “Pianoir,” a long-lost and oft-requested tune. Literally doing most of the legwork, pianist Phipps carried the song’s smooth groove, his baby grand singing, while Rocklin’s booming touches enhanced the number’s off-kilter closing rhythm.

“Baraka” soared to great heights, and the band displayed uncanny synchronization as it executed the ballad’s blistering peaks and dreamy troughs. “Crystal Instrument” followed, deliciously languid and altered in a few spots. When the song reached its jumping-off point, Phipps pounced, ripping until he’d had his fill. After “Instrument,” the high-energy stalwart “Moonsocket” slowly picked up steam as this standard had a greater effect on the crowd than the seldom heard compositions preceding it.

By the time the angelic tones of “So it Goes” petered out, many fans began to realize an ideal STS9 set was unfolding before them. Well-suited for acoustic play, “Equniox” removed any doubt. Expertly placed piano and bass flourishes enriched the song’s downtempo sections, and Rocklin flaunted her skills once more, filling atmospheric gaps with fruity lines. The unmistakable feel-good hit “Circus” closed the set.

Friday’s acoustic set softened the positions of hardliners demanding oldie-heavy set lists, and Saturday’s sequel likely silenced them. As the audience drifted away during set break, running here and there, a sense of awe and wonder hung in the air. Yes, wide-eyed attendees confirmed, trying to convince themselves and their neighbors. That just happened.

A journey through the past and a look at the future, Saturday’s second set contained some of the most electrifying, crowd-pleasing playing of the run. Totem” opened the set alive with chunking guitar and streaming keyboard. Like many of STS9’s new songs, “Totem” is a slice of polished, disco-like dance music, honoring the band’s bygone funk era while bearing the synthy stamp of its new style.

Walking a funky mile, the group later tore through a raucous “Wika Chikana,” which lingered a bit longer than usual and swirled ever-higher. A monstrous “F. Word,” bolstered by what sounded like a little compositional tinkering, made a considerable impression. An expanded “Gobnugget,” the hard-hitting staple “Ramone and Emiglio,” and a “Rent”>”Moonsocket”>”Rent” sandwich were similarly impactful. To the delight of everyone in attendance, Phipps extended the concluding section of “Ramone,” creating more depth with every stab of the keys. “Vapors,” an unnamed fresh track, and the sweet, somewhat sultry “Only Light Remains” weren’t as captivating, but they may be with time.

With two historic acoustic delights and three high-flying electronic sets in the books, hopes were understandably high as the band picked up their instruments for the sixth and final time.

And so it began. The sugary “Click Lang Echo,” with its clever nod to “Baba O’ Riley,” moved into “Inspire Strikes Back.” “2012” and “Golden Gate” generated a tinkling fog before the band trotted out “Four Year Puma” in all of its full-bodied, kooky glory. “Puma” ran on, daring the audience to keep up with the race. After “EHM” and thousands of requisite call —and— response “woo’s,”  “Frequencies 2>3” hummed and crackled. Thanks to Brown’s raw meandering, “Frequenices Peace 3” may have been the most bombastic hunk of funk served up over the course of the run. Encoring with a “Luma Daylight”>”Tokyo” segue and “Firewall,” STS9 drew out the nearly spent magic, parting on an ambient note.

For almost a decade, STS9 has cooly absorbed sticks and stones hurled by the hypercritical jam band community. Accused of everything from willful creative stagnation to aloofness, the band has weathered tidal waves of abuse, venom from foes and fans alike. With something to prove, the quintet razed Red Rocks in two days, answering all of the trite criticisms every STS9 fan knows intimately. Countering accusations of snobbery, the group bowed in unison and addressed the crowd warmly. (It’s worth noting that Velmer spoke to the audience with the aid of a bullhorn, subtly stepping into the shoes of departed emcee Murphy.)  Acknowledging the thirst for jams, the band improvised. Not for twenty to thirty minutes mind you, but there were some very special on-the-fly flashes. Placating the many factions within their following, the band explored all of its facets, from jazz to dance. Most importantly, STS9 produced a virtually flawless run, proving the battered phenomenon is back on its feet and then some.

Setlists

 Red Rocks Amphitheatre :: 09.05.2014

SET I (AXE THE CABLES): Lo Swaga, Kamuy, Red Clay (*), Glen Tells Kango, Native End >ReEmergence, Tap In, 986 Ft Tall Trees, The Unquestionable Supremacy of Nature

SET II: The Unquestionable Supremacy of Nature, Blu Mood, T.W.E.L.V.E, Walk To The Light ($), Grow, New Dawn New Day > Surreality > EB, March

SET III: Scheme Reprise, Evasive Maneuvers, Move My Peeps > Monkey Music, When The Dust Settles, What Is Love?, King Pharoah’s Tomb, ABCees

ENCORE: Somesing, South of Here

(*) Freddie Hubbard cover, first time played
($) First time played

Red Rocks Amphitheatre :: 09.06.14

SET I (AXE THE CABLES): Human Abstract, Pianoir, Baraka, Crystal Instrument, Moonsocket > So It Goes > Equinox, Circus

SET II: Totem, Untitled, Wika Chikana, F Word, Gobnugget, Vapors > Only Light Remains, Ramone & Emiglio, Rent > Moonsocket > Rent

SET III: Click Lang Echo > Inspire Strikes Back, 20-12, Golden Gate, Four Year Puma, EHM, Frequencies Peace 2 > Frequencies Peace 3, World Go Round

ENCORE: Luma Daylight > Tokyo, Firewall