The Wood Brothers have never radiated such calm, confident dignity as they did striding out onto the MainStage of the Flynn Center on October 27th. But their unassuming demeanor was an accurate precursor to the two-hour set the trio played this warm autumn evening in the Green Mountains…at least to a point.
Peppered with selections from their latest studio album, Heart Is The Hero, the performance was notable for the marked distinction between the group’s older and newer material, not to mention the audience’s divided reaction(s). In more than one instance of his good-humored repartee with the attendees, Oliver made note of superlative songs such as “Line Your Pockets” and “Between The Beats,” observing how the threesome was enjoying the live presentation of such tunes on their current tour.
He and his younger sibling plus Jano Rix certainly have a right to be so delighted. Their ninth studio album depicts a marked progression in the fifteen-plus years the siblings Chris and Oliver have been playing in Burlington, Vermont (the last decade or so with their ‘adopted’ brethren). It was thus somewhat distressing that not only did the mention of the album elicit little response, but those in attendance seemed to pay them little mind when the selections therefrom were played.
That may have been in keeping with the general tenor of the ‘Friday night’ to which Oliver alluded more than once. While there was a sizable segment of the near-capacity crowd as attentive to “Chocolate On My Tongue” as “Pilgrim,” there were plenty who seemed to be in attendance more to just have a place to go out on a pre-holiday weekend night than pay homage to artists who deserve both respect and reverence for their regular touring and recording.
After the Wood Brothers’ experimentation on Paradise and The Muse –the title tune of which appeared during the sit-in of opener Maya Devitry (with Joel Timmons)–they’ve distilled the elements of folk, blues, country, and rock into a cohesive whole that, in the form of “Far From Alone,” favorably recalls the most eclectic work of The Band.
Yet even without covering the latter’s “Ophelia”–which they were doing with such reverence and style circa 2017 in the Ballroom of Higher Ground (promoters of this appearance)–the trio evinced a soulful depth and wit long on nuance and short on the sing-song quality of “Luckiest Man.”
Evidence of the audience’s initially timid eagerness to participate in the show, more than one singalong occurred as the single set progressed. Perhaps the early Halloween festivities so obvious in the streets outside this venerable venue accounted for the intermittently robust outbreaks of dancing inside its walls: as the elder Wood commented on the phenomenon “What if we play something slow and quiet?” (or words to that effect).
Still, the wag near the front who encouraged the Burlington crowd to its feet moments later was subsequently seen leaving early. In fact, there was a steady stream of departees as eleven pm approached (the band started a little after 9), a casual attitude that certainly belied the informal yet practiced nature of the Wood Brothers’ musicianship. But with subtle new numbers like “Mean Man World,” featuring Chris on lead vocal and Rix on one of a small handful of tasteful keyboard additions to the mix, they don’t so much command attention as simply invite it (and even in the most intense moments, far less vociferously than the aforementioned cheerleader on the floor).
Rix’ vocals, drums, and keyboard work on a handful of numbers like “Little Bit Sweet” blended with not only Chris’ acoustic and electric basses but also both types of guitars Oliver used. As a result, the three sounded like an ensemble altogether greater than their number would suggest. It’s remarkable too that the latter needs virtually no warmup to let rip with scalding solos and/or frenetic fingerwork (with and without a slide)as on “Don’t Think About My Death,” but that again begs the question of why he and his two partners don’t stretch out more when they improvise: it would certainly suit the party-hearty demographic in their following.
The Wood Brothers are simply more naturally inclined to populate their performances with a succession of short, sharp takes on selections such as the thought-provoking “When I Was Young,” the reflective nature of which might well have been lost on too many in attendance. And Chris’ extended solo stage center aside, he would apparently rather dance than use his Hofner bass to joust much with Oliver (or bow his standup for a similar effect).
With emphasis on their latest (ninth!) studio album apparently falling on so many deaf ears, the Wood Brothers’ latest tour stop in Vermont suggests they may be leaving behind much of their fanbase, at least emotionally speaking (notwithstanding the couple who brought their toddler). While they teased the Everly Brothers’ “All I Have To Do Is Dream” circled around a vintage mike with their co-bill Maya Devitry (alongside Joel Timmins), the threesome only hinted at breaking out into the Allman Brothers’ take on “One Way Out” a bit later (a move that may or may not have resonated with their listeners).
Nonetheless, closing the concert with a frenzy–the proper time to let the otherwise intrusive stage lights blaze outward–the fitting choice of “One More Day” rippled its way through the room to enliven those present into multiple forms of wild gesticulation. Unfortunately, more muted forms of recognition were absent for the first half of that encore where the Wood Brothers most delicately rendered the touching “Kitchen Floor.”
Hopefully, the performers were as satisfied with their latest Vermont experience as the most demonstrative of the state’s residents inside the Flynn Center.
