There are a few times when the collaboration bears a sum much greater than its constituent parts, in which orchestra and singer weave a synaesthetic grandeur that is utterly enthralling. Natalie Merchant's show last week was one of those nights.
The Cult opened their concert at the Hampton Beach Casino Ballroom, an ocean side club that has hosted some of the biggest names in rock history over the years, by roaring into the stuttering opening riff of their mid-80s classic “Lil’ Devil,” and never looked back. After three decades in the business of rock n roll, The Cult proved they can still tear up a stage.
Starting a new leg of the No More Mr Nice Guy tour that began last year, Alice Cooper has made a few changes, tweaked a few songs and brought the overall nucleus back to the music. Cooper, known as much for his stage theatrics as his anthemic songs and rabid raccoon eye makeup, has toned down his over-the-top spectacle just a tad and made his recorded repertoire more of a musically vivid presence. Having last witnessed him in 2009, where he brought out everything but the snake, this time around he was just Alice; albeit in black leather, studded top hat and another stellar band beside him. “He’s such an amazing showman,” guitarist Orianthi praised before the show. “He gets so into character, it’s scary (laughs).”
Funksters Galactic (and friends) rode north from the dirty south to park themselves at the fantastic Brooklyn Bowl for four nights of gigs to close out May and start June in the city. Each night featured a different opener who would inevitably contribute to the main acts stage and in tonight’s case vice versa.
Never before has this reviewer attended an arena rock show with the emotional power of Roger Waters' current The Wall tour. The show, which plays through the classic 1979 Pink Floyd album in its entirety, was an amazing visual and aural spectacle.
Alejandro Escovedo has always been one of the hardest working men in the business, but lately he’s set the bar high even for his own lofty standards. About midway through Monday night’s set at Maxwell’s in Hoboken, Escovedo sheepishly admitted that the band was still going strong at this late weeknight hour, despite the fact that they had been up and at it for nearly 24 hours.
That relish no doubt has to do with the relatively new presence of percussionist/vocalist Jano Rix. Chris and Oliver are now separated at their own microphones stage left and right to accommodate a clear sightline to the new addition to the band, so Rix’ presence presents The Wood Brothers as a versatile three-man band that often sounds twice its size. And it's not just when he joins in singing as he did when the threesome gathered round a vintage mike for "Liza Jane;" Rix’ agile drum work brings The Woods to the threshold of an even more vigorous and assertive approach.
Summing up an event like Bonnaroo takes time for reflection and consideration, but by the time Phish’s closing set was over on Sunday night, it was clear and simple – Bonnaroo 2012 is going to be remembered as one of the great ones. Looking back over the music and surprises of the weekend, Sunday’s shows don’t necessarily stand out among the shock rock and superjams and sunrise sets (okay, Lionel Richie showed up and sang “All Night Long” with Kenny Rogers, but that wasn’t totally unexpected). But it was as solid as any of the festival’s four days thanks to solid if relatively unsurprising performances by veteran acts.
As an unintentional exclamation point on the day, I happened to walk by shock schlocker Alice Cooper’s show just as the guillotine dropped and the band broke into “School’s Out.” From the truly odd (Puscifer) to the frightening (Danzig, Alice Cooper) and fascinating (Superjam), Bonnaroo 2012’s stupendous Saturday carnival had it all.
Radiohead are the booking that put Bonnaroo over the top back in 2006. Festival higher-ups have regularly pointed to that year as the year Bonnaroo broke, and the prospect of an equally epic show from Thom Yorke and company had tens of thousands salivating as Friday night kicked into full gear. Much like 2006, though, the audience found itself divided. After the band interjected a panicky "15 Steps" among a group of mellower material (Opener "Bloom," In Rainbows favorite "Wierd Fishes/Arpeggi"), many who jammed the field at 10 PM didn't stick around for the one-two punch of "I Might Be Wrong" and "The Gloaming" that occurred about half an hour in.
