Men with Sticks in Chicago

Stick Men
Opening Act: The E-Mics
Martyrs'
Chicago, IL
Saturday, May 15, 2010
General Admission
$25

Even if you've never heard of Tony Levin, without a doubt, you have heard his music. He's played bass for Peter Gabriel, John Lennon, Paul Simon, in addition to being the long-time bass player in King Crimson. He's the best known player of an instrument called the Chapman Stick, a guitar/bass hybrid where each finger can play notes independently, like on a piano. Tony's current project features the Stick. His band is called Stick Men, with Tony and another musician on Stick and Pat Mastelotto from King Crimson on drums.

Stick Men weren't coming to St. Louis, but they were playing Chicago on a Saturday. Roy and I could drive up and back without taking any time off from work. The show was at Martyrs, and I've had some bad experiences there in the past. The club could get hot, no air movement, and quite smoky. I haven't been back since Illinois banned smoking, so maybe it would be better now.

Martyrs is so laid-back. Usually at a club for a general admission show, people will line up outside, wait until the doors open, and then file to a position by the stage. Martyrs is open as a bar earlier in the day, so their doors are always open. We got in around 6 and walked right in. They said someone would come around and check for tickets later. The opening band was still sound-checking. we sat down near the bar for a while. I wanted the space by the stage right in front of Tony, but I didn't want to be in anyone's way. There were some other fans there already. When everyone cleared off the stage, we walked over to our spot and stood... for the next six hours.

We were the only two people standing there, still some hours before the show was going to start. We saw Tony Levin walk into the club. He talked to a couple fans. Then he walked right over to us to say hi. Roy was wearing his Papa Bear Records t-shirt, for the record company that Tony owns. Tony noticed it and said he liked the t-shirt. I think that's why he stopped for a little longer, instead of just walking by. He told us he has almost sold out of the original run of those shirts. (Roy's had his for at least a dozen years.) Roy got to tell him that he enjoys Tony's website and blog and reads it often. Tony said he was heading upstairs to update it now.

My favorite types of general admission shows are the ones where there's a standing-room-only pit in front of the stage with seating further behind it. Especially for older bands, most of the people who get there early will vie for the seats, leaving the front of the stage for me. It takes the pressure off. Roy said Martyrs was this type of venue. I didn't think so, since there was only a row of seats by the back and a couple tables off to the side. But he was right; all those seats were filled before the front row was.

People started filling in. The merchandise booth was opened. Roy and I didn't end up buying a t-shirt, but I wanted to buy the new Stick Men CD. The band would hang out after the show to sign autographs; I knew I'd be buying this, so I didn't bring anything else to get signed.

But the copies of the new CD were already signed. I asked if they had any copies that weren't signed. The guy standing next to me quipped that the signatures would rub off easily. I explained that I was hoping to get this signed after the show. It was at the next comment that I realized I was talking to the "other" Stick player in the band, Michael Bernier. He said they signed them all in advance to cut down on doing so many autographs after the show, but they'd sign anything. I told him I was looking forward to the performance.


I really liked the opening band The E-Mics. It was two guys on guitar and vocals. Nice harmonies, nice guitar work. One of the musicians uses a saxophone for one song to change the sound up. The harmonies really made it work, it came across as a full sound, much more than if either of them were performing alone. Apparently, they opened for Adrian Belew in Chicago, and one of the band members was learning Three of a Perfect Pair. He played a measure of it on guitar a couple times. I think I liked this duo more than Stick Men.

I've been to three very different types of concerts this month. There was a pop band decades after their peak in popularity, struggling to play newer material when fans want to hear the old stuff. There's the soon-to-be classic alternative band, still at their peak, with an arena full of fans, and this band can play anything. Most of the fans know every song. Stick Men is something else entirely. It's a small crowd, all there on faith that we'll like the music given Levin and Mastelotto's other work. Stick Men have one album out, which came out a week ago, and they're playing the whole thing. This is really, really alternative.

The opening song was familiar, a reworked version of my favorite King Crimson song Indiscipline. It went on as an instrumental for so long, I wondered if they weren't doing the spoken word lyrics. Michael Bernier did the vocals. I think it's hard to judge, because this isn't being sung but spoken, but I thought he came across as mimicing Adrian Belew's delivery.

The next few songs were all unfamiliar ones. The real treat of this concert was seeing some of my favorite musicians so close. Pat Mastelotto had his drum kit at stage center, at the same level as the other musicians. Usually, his drum is on a riser further back on the stage. We could see everything he was playing, both the drums and the percussion work.

The show was divided into two 45 minute sets and an encore. It was in the second set that the stillness of the air began to bother me. It wasn't hot really, but it got uncomfortable. Smells just did not dissipate. Roy thought it smelled like a skunk at one point, but I think it was b.o. from people sweating. This place has some overhead fans, I don't know why they weren't using them. I got restless. I could see the songs listed out on Tony's setlist. There was an improvisation that went seemlessy into one of the new songs. In fact, all of the songs were unfamiliar after Indiscipline until the last song of the main set. They did a cover of Red, a King Crimson song from before either Levin or Mastelotto joined the band.

The encore was a special treat. Stick Men did an arrangement of Stravinsky's Firebird Suite. This piece is best known to Yes fans as the classical piece that starts off most Yes concerts. There's a Pavlovian response of anticipation and excitement. Roy and I chose this as our processional music at our wedding. I have to admit, I'm not too familiar with the Suite other than the finale. But when Tony Levin played that melody that I know so well, I got chills.

After the show, I asked Roy to reach over on stage and grab Tony's setlist. We took seats by the bar and some drunk guy wandered up to us. I recognized him. He tried to squeeze in between Roy and me during the show and I wouldn't let him. He rambled on about how we need to go to Winnipeg and how Lincoln Avenue (where Martyrs is located) isn't where it's at. This went on and on. Finally, I told him I needed to talk to my husband. He stopped talking, but still stood there. Privately, I said. Finally, he left us alone. We could have walked away, but I didn't want to give up our seats.


Levin came out to talk to fans and sign autographs. Mastelotto was taking apart his drum set, but walked over to the edge of the stage to sign autographs. They both signed my newly purloined setlist. Some bands give them away after the show. I wonder if other bands mind taking these things. Tony Levin said it was a good idea to get it, so he was fine with it. Roy told him we drove up from St. Louis, and Tony wished us a safe drive back. Roy got to tell Pat Mastelotto how much we enjoyed watching him play. He thanked Roy and walked over to shake his hand.

I'm not sure I would travel up to Chicago to see this band again. I talked about this experience with a coworker who is not a rock music fan or concert-goer. He didn't have any assumptions and asked me some insiteful questions and wondered if it was because it was unfamiliar music. I don't think so. I go to a lot of concerts and festivals where there's music I don't know. I even liked the opening act E-Mics, and I had never heard of them before. I just don't love Stick Men's sound. I don't dislike it and I enjoyed seeing these musicians in concert. I'd see them again locally. This was a quick trip - we arrived in time for deep-dish pizza dinner and went to the show. We didn't do any Chicago-touristy things, so it was all about the concert.

However, when you add in giving up a whole weekend and sitting in a car for five hours each day, it wasn't worth it for me. I don't think that makes me any less of a Tony Levin fan. He works with a lot of different projects, and there are some I like more than others. I'm glad I got a chance to see this one, so I don't feel like I've been left out. For the next tour, I can make an informed decision.

Rising Above with Pearl Jam

Pearl Jam
Scottrade Center
St. Louis, MO
Tuesday, May 4, 2010
Section 102, Row G, Seat 17
$66.50

I graduated high school in 1992, so my senior year coincided with the Seattle grunge scene breakthrough. I was aware of it that year, but slow to catch on. On April 10, 1992, the very same night when Pearl Jam played the Trocadero in Philly, I was at the Skid Row concert at the Spectrum. I bought a few albums from Seattle bands, and I saw Soundgarden and Alice in Chains that school year.

I really became a Pearl Jam fan in college. I was 19 and getting more and more into Yes and other bands from the 1970s progressive rock era. I was excited about this music and other bands that I listened to when I was younger faded away. But I bought Pearl Jam's second album Vs. on midnight on the day of its release, and I listened to it a lot. Songs like Daughter and rearviewmirror resonated with me. Some of those lyrics could have been about me, putting my relationship with my family and a betrayed friendship into perspective. I bought a few more albums, but I never got to see them in college.

Seeing them now is nostalgic for me, a gift to my 19-year-old self. I knew that this is not a band that needs nostalgia. They've been active creating new music all along. I figured I'd know a handful of songs that they'd play, and the rest would be unfamiliar.

Roy didn't want to go to this concert. I think it's funny that sometimes I can go to a concert by myself and it doesn't bother me in the least. Other times, I feel like an outcast for no longer having a local group of friends to go with. I think it comes down to how well I know the music or what type of crowd I'm expecting. I asked around, and I couldn't find anyone else interested. I could buy two tickets and continue my search, or accept it and buy a single ticket. I didn't want to keep asking around. It was fine at the show, as I brought a magazine to read beforehand and I talked to some of the people in my row.

I ended up with a really good seat. I didn't want to be on the floor. I bought my ticket during the presale, and I got a seat in the first tier of seats, about seven rows up. I was in line with about the 15th row on the floor. It was a great viewing angle. Sometimes shows have video screens or a backdrop that can't be seen if your seat has a side-view of the stage. I like it better to be a section further back.

The opening act Band of Horses was a nice surprise. I had never heard of them before. They sounded nothing like Pearl Jam, but had a laid-back sound with a country-folk influence to their songs. I liked their harmonies and their use of piano.

Pearl Jam came on and opened with four songs in a row that I didn't recognize. The fifth song was Elderly Woman Behind a Counter in a Small Town from Vs. I remembered all the words to this one. I sang along to "Hello. My god, it's been so long, never dreamed you'd return" and so did the rest of the audience. I got a big smile on my face. I knew a few more songs during the main set, and most of the encore songs. I heard the songs I really wanted to hear, Daughter and rearviewmirror. But I didn't get to hear other songs in the "would be nice to hear" category like Who You Are and Black. A fair trade-off.

I watched singer/guitarist Eddie Vedder for most of the show. So impressed with his performance. I think he's a fascinating artist, and I got to see him connect with the audience without being cheesy or over-the-top. He got us cheering without ever saying anything that didn't sound like he was chatting with us. One of my favorite moments, visually, of the show was Vedder holding his guitar over his head up to a spotlight. Light reflected off of it into the audience. I watched as he'd move his guitar a little and the reflected light would hit another section of the arena and then another. I wonder if he does that at every show. I'm amazed to read that he's 45 years old. That's how old my favorite singer Jon Anderson was the first time I saw him in concert, but Vedder still seems youthful.

The band didn't need a stage show to keep our attention. The backdrop was a cloth that had typewriter keys on it. In the center were the letters P E A R L J A M. The lights would shine on different letters and highlight them. I was close enough to be able to see and recognize all the band members, but not close enough to see their facial expressions. A close up video feed would have been nice, but it wasn't necessary.

Pearl Jam is a band that takes a stand on a lot of social and environmental issues. At this show, it was lessening the use of plastic water bottles. We clashed there, because I usually buy a bottled water at concerts. The concession lady told me the bottled waters were not allowed into the auditorium, so what they were doing was selling the waters, but pouring them into a plastic cup, which we were allowed to bring in. Two plastic drink holders is worse than one! To make it worse, the cup was a flimsy thing that had no lid. I imagined myself spilling it before I even got to my seat. I bought a large soda for $7 that was also plastic, but came with a lid. Of course, it's easy to find holes in the band's philosophy, places where they might look hypocritical. My big environmental deal is smoking, forcing me to breathe your carcinogenic waste. Eddie Vedder smoked on-stage, and even made it part of the show, in a non-smoking building. We can't all be perfect.

The concert lasted about two and a half hours, but it never dragged, even with me knowing so few of their songs. It was well-paced, with their mix of songs that sound like classic rock, heavier stuff, and quieter singalongs. It didn't go on too late either. The concert started at 7:30, and Pearl Jam took the stage around 8:30. The show was over by 11. For the final encore, the house lights came on. That maybe gave me another burst of energy, along with their cover of The Who's Baba O'Riley.

The final song of the night was Yellow Ledbetter. Eddie Vedder played tambourine, and he was hitting two tambourines against each other, then tossing them out to the audience. There was a roadie keeping him with a running supply of tambourines. Vedder stood on the far end of the stage to sing, and then walked into the audience. The song ended with him sitting on his monitors at the edge of the stage, having a drink. A roadie brought over a cigarette, and Eddie Vedder drank and smoke and hung out with the crowd listening to the end of the song.

I was talking to a coworker the day after the show. Now I've seen Pearl Jam, so I can check them off the list. But this show has stayed with me for the last week. I think I will see them again if they come back to St. Louis. And I'll be sure to check out their latest album, so I know more of their material.

Walk Like a Bangle

The Bangles
Opening Act: Sick of Sarah
The Pageant
St. Louis, MO
Sunday, May 2, 2010
General Admission
$25

I didn't pay much attention to The Bangles in the 1980s. I knew their break-through singles Manic Monday and Walk Like an Egyptian, but that was a year before I really got interested in music. And I didn't care at all about ballads when Eternal Flame became a big hit.

One easy way to get my attention now is to have some connection to Yes. The Bangles' singer guitarist Susanna Hoffs is a self-professed Yes fan. She did a cover of Yes' I've Seen All Good People on an album of covers with Matthew Sweet. She even recorded the song with Steve Howe. I listen to this whole album often, and Roy and I also like an earlier volume they did of cover songs from the 1960s. I've become a fan of Susanna Hoffs, and that gave me new interest in The Bangles.

I heard The Bangles were coming to the Pageant, a concert venue in my neighborhood, just a half-mile from my home. I didn't rush out to buy tickets, but I made a note of the date. If we weren't too busy that day, it might be fun. I knew about five songs of theirs, so I figured I'd know about a third of their set. On the good side, the show was non-smoking. On the bad side, there were no reserved seats. I have this thing about needing a spot with a good sight-line at concerts. I'm short, so I can't see over most other people. I like getting to general admission shows early, waiting in line to get my pick of seats. Roy was interested in this show, but not enough to invest hours waiting in line.

The day of the show, I was running errands all morning and early afternoon. I'd have to make an early dinner if we were going to the show. We could have easily blown it off, except for this turn of events: I got home to find out our neighbors invited us over for a party they were having. I was tired, but Roy and I went down. I ended up playing a Wii dance game, dancing to a Beach Boys song. It was fun, and it put me in the mood to go to a concert and dance to the live music.

Our timeline was off from my original plan. We blew off waiting in line for good seats. The show started at 8. We weren't ready to leave home until 7:15, after dinner. We walked over, got tickets, and walked right up to the front row.

I knew the show hadn't sold too well; I read on-line that the Pageant wouldn't be opening the balcony for this show. Roy and I were hoping that there'd still be seats available, or if not, we could stand along the wall and hope for a good view. If we couldn't find a good spot, we'd just leave. Tickets weren't that expensive. When we got there, most of the seats were already taken. But we've noticed at shows that skew to an older crowd, almost everyone heads to the seats, and leaves the standing-room-only pit in front of the stage empty. There were maybe 10 people standing in the front row, so we joined them. Roy mentioned that if we had waited in line all those hours, this would pretty much be the spot I wanted anyway. We got there 15 minutes before the opening act started.

The opening act was called Sick of Sarah. Unfortunately, the sound quality during their set was just awful. We could hear the drums and bass, far-away sounding vocals. The guitar player was standing right in front of us, but I could not hear what she was playing. The band had a lot of energy and put on a good live presentation. Roy wandered back to the sound board, to see how different it sounded there. Not much better. Sometimes the front rows can get bad sound because the main speakers are above us, pushing the sound further back. We hear the on-stage monitors and get a weird mix. I don't know what was causing it this time. I hoped the Bangles would be better. The opening act played for half an hour.

I like the idea that the Bangles were taking a young group on tour to give them exposure, like bands used to do before the package tours became so popular. It feels like so many bands charge a fortune for concert tickets on the basis of nostalgia, and the return is that they have to offer up nostalgia, delivering songs that every one knows, by every band. With a band playing a small venue, with $25 tickets, the show becomes less of an "event" and more of a real concert by an active touring band. There's a freedom to play lesser known songs and bring unknown acts with them.

The Bangles came on stage right at nine. They opened with their cover of Hazy Shade of Winter, a Simon and Garfunkel song. For me, it was a great opening because it's so lively and it's the only song where I could sing along for the whole song, knowing all the words. The sound was much better than the opening band's. We could hear every instrument and the vocals clearly. The only thing I had trouble with was catching everything the band members said to the audience.

There were three microphones set up in front. Vicki Peterson stood stage center, Susanna Hoffs was stage left, close to where we were standing. For a few songs, Debbi Peterson left the drumset to play guitar; she took the position on stage right. This was not a real personality-driven band for me. Roy asked me earlier if I could name all the band members. I could, but I didn't know which Peterson sister was Debbi and which was Vicki. It turned out that Roy didn't know it was Susanna Hoffs standing closest to us; he refered to her as "the other guitarist" after the show. They all took turns singing, with Debbi sometimes singing while playing drums, and sometimes by the front of the stage. There were only three original members of the band. They were joined by a bassist and keyboard player.

This was just a really fun, well-performed, enjoyable show. I told Roy that it felt like the band stripped off the 80's production sheen from their music. It came across as power pop with great vocal harmonies. The covers they played only reinforced this - a Big Star song in memory of Alex Chilton, the Nazz's Open My Eyes (which Roy and I both thought was going to be Can't Explain from the Who), a snippet of the Who's Magic Bus during the encores. There was another song that used the bassline of The Beatles' Taxman. I don't know if that was a cover or not.

There was one song that I didn't think sounded well. They performed to a backing track for one song, so Debbi Peterson could play guitar. The pre-recorded drums were too loud and seemed to clash with what the band was playing, rather than support it. Either I got used to it, or they fixed the volume issue, because it got better as it got on.

Roy was particularly impressed with Vicki Peterson's guitar playing. He said it reminded him of The Moody Blues' Justin Hayward's very melodic playing.

The Bangles played one unreleased song, from their upcoming album. Vicki Peterson asked the audience to indulge them this one song. I hate that it's come to this. Why is there this dividing line, where songs of a certain vintage are acceptable, and new songs suck? Every song was new at one point, and we used to like them. Did it come with radio deciding to stop playing the new songs from older bands? Or too many artists with new material that wasn't that interesting, too middle-of-the-road. I asked Roy if, when he saw Yes the first time, just before the Relayer album was released, if they meekly asked the audience if they would indulge them playing Sound Chaser? Or did they just open with it? Roy said they slammed the audience with it. Of course, I didn't know half the material the Bangles played at this show, and the new song fit right in stylistically, so I wouldn't have noticed it was new.

For the encore, The Bangles invited Sick of Sarah back on stage to sing and dance. They did In Your Room. The final encore was Walk Like an Egyptian, played to a backing track. Susanna Hoffs had two pre-teen girls sitting off to the side of the stage. Roy heard her say these were her nieces. They came out and danced along for this song. Some of the Sick of Sarah musicians clowned around did the dance from the video in back of the stage. The bandmembers really looked like they enjoying themselves throughout the show. We were too.

The show ended at 10:30pm. I've had good luck meeting some of the musicians who play at the Pageant in the past. I know what exit they use to get on the tour bus after the show. I brought my copy of Susanna Hoff and Matthew Sweet's Under the Covers CD, and we waited. It gets to be late, and we want to go home, but we've already waited all this time, it's bound to be soon. We saw people with backstage passes leave. We saw the young nieces leave, and the backing musicians.

There was a new wrinkle in waiting for autographs. Since the last time we were at the Pageant, a new hotel opened a few store-fronts away. The band could come out of any door and walk over without a big production. That's just what happened. Everyone else left from the usual door in back, but the Bangles walked out front. One of the Pageant employees told us they'd already left. I didn't know whether to trust him or not, but someone from the opening act confirmed it. It was around midnight. We walked home. If I had gone home right after the concert, I wouldn't have gotten to sleep too late. This extra hour and a half of waiting was another matter. I called work and left a message that I'd be in late. I gave myself too little sleep and still got in late, but it's balanced by the happy memories of a good concert. I'm really glad we went.