The film is lavishly beautiful, and I was touched by some of the moments. But it's very ordinary in direction, has some odd shaky camera moments quite out of character for the material, and the story itself remains unbalanced, with the first half much more intriguing than the second. When Sebastian and Lady Marchmain leave the story, so does much of the interest.
The film emphasises Lady Marchmain's obsession with Catholicism to the point of using much leaden symbolism and lingering camera shots to bring about the point that her trenchant observation of her faith has ruined her children's lives. It tries to tell us that God has ruined Sebastian and Julia's chances of happiness.
But then the film has to deal with Waugh's ending (and the fact the author struggled with his own feeling about his faith) because we see that Lord Marchmain relents on his deathbed, to his children's immense relief, and Julia leaves Charles because she cannot cut herself off from His grace. It is ultimately Charles who is punished for his ungodliness - Sebastian lives broken and exiled, but of his own choice, and Julia has to live without Charles but at peace with God of her own choice - but Charles is the one character at the end of the book who has nothing that he has ever desired - not Julia, not his wife, not Brideshead, not his identity as an artist.
It is as if the film has no idea how to resolve the film. It wants to condemn God, but Waugh does not choose to do that in his text. And so, the film peters out uneasily and lost, through the final half hour.
I really liked Ben Whishaw as Sebastian; in looks he isn't quite what I would've expected, not blond and carefree from the text, but he manages to show Sebastian's fey frailty without being ridiculous. It's easy to see why Charles would've been attracted to him, and his life, at the outset. Matthew Goode (who is so very pretty) does struggle a bit, particularly in the latter half of the film, to convey poor Charles' emotions; probably because Charles is written as so much of a blank slate who just wants to adopt some code or convention to become someone else completely. Hayley Atwell is fine as Julia, but Julia was always not very well-fleshed out nor likeable. Emma Thompson is good as Lady Marchmain; her particular arch coldness comes more from the script than any translation issues from the original text.
Tuesday, November 4, 2008
Monday, October 6, 2008
Opera Australia: My Fair Lady
I enjoyed this production of My Fair Lady at the Theatre Royal, which was musically sound and handsome on a small scale. The production stuck very closely to that of the film in aesthetics (sets and costumes) and staging.
I was so happy that we did get Richard E. Grant as Professor Higgins, and he didn't disappoint - he's a decent singer, and very much Henry Higgins in his delivery of those cutting lines. He's much more physical in his performance that I'd expected for the role, constantly in motion, but it works since he is a much younger Henry than usual. When they took their bows at the end, he was a little teary-eyed, probably out of relief at successfully pulling off his musical theatre debut.
Taryn Fiebig has a good singing voice, but I found her a little harder to hear in dialogue, since she seems to swallow her words - I don't know if that's an operatic training thing. She looked lovely though in the Ascot and ball costumes. And John Wood was very funny as Alfie, though I question the amount of eyeliner they used on him...why would a common dustman wear so much eyeliner (or any at all, really)? The supporting cast were good too. There was a slight tendency towards the hammy (from the whole cast, though I'd single out the actor playing Freddy as a particularly notable example), but it's always had that feel, especially in the 'cockney' folk-of-the-street numbers.
The 'romantic' ending (that of the original musical and film, not Shaw's Pygmalion ending) worked better for me here, this time. They chose to play up the romantic tension from earlier on, and in the scene at Mrs Higgins' house they make it much more explicit that both Eliza and Henry have feelings for each other, but it's more a battle for Henry to acknowledge Eliza as more than his marvelous creation, as her own self instead. Which makes their reconciliation sweeter, and more understandable.
I was so happy that we did get Richard E. Grant as Professor Higgins, and he didn't disappoint - he's a decent singer, and very much Henry Higgins in his delivery of those cutting lines. He's much more physical in his performance that I'd expected for the role, constantly in motion, but it works since he is a much younger Henry than usual. When they took their bows at the end, he was a little teary-eyed, probably out of relief at successfully pulling off his musical theatre debut.
Taryn Fiebig has a good singing voice, but I found her a little harder to hear in dialogue, since she seems to swallow her words - I don't know if that's an operatic training thing. She looked lovely though in the Ascot and ball costumes. And John Wood was very funny as Alfie, though I question the amount of eyeliner they used on him...why would a common dustman wear so much eyeliner (or any at all, really)? The supporting cast were good too. There was a slight tendency towards the hammy (from the whole cast, though I'd single out the actor playing Freddy as a particularly notable example), but it's always had that feel, especially in the 'cockney' folk-of-the-street numbers.
The 'romantic' ending (that of the original musical and film, not Shaw's Pygmalion ending) worked better for me here, this time. They chose to play up the romantic tension from earlier on, and in the scene at Mrs Higgins' house they make it much more explicit that both Eliza and Henry have feelings for each other, but it's more a battle for Henry to acknowledge Eliza as more than his marvelous creation, as her own self instead. Which makes their reconciliation sweeter, and more understandable.
Sunday, October 5, 2008
Conor Oberst - 4 Oct 2008 - Enmore Theatre
The concert, showcasing Oberst' new eponymous album of upbeat indie-folk rock songs with trademark depressing-as-hell lyric, was good. Musically, the five piece Mystic Valley Band worked together well, backing Conor solidly as he strummed a variety of guitars and threw himself all over the stage and played in their faces. They even took lead vocal duties on a few songs.
The only problem was the sound was quite muddy, and the band overpowered the vocal quite a lot. I enjoyed it a lot more when Conor played the simpler arrangements, usually himself and one other member accompanying him - in those moments it was clear how beautiful and unique his voice is, how affecting the songs are. I particularly loved a slowed down version of Cape Canaveral, with the guitar slapping and extended band jam. Actually, all the band jams were good examples of Americana folk rock at its best. And Conor clearly adores his band, from his descriptions of them as amazing and lovely, and the random shaking of their hands in thanks, and the group hug at the end of the second last song.
Conor himself was ADORABLE. He was a tiny man, smart and oddly formal in a dark suit and tie. He was obviously enjoying his time on stage, playing with passion, dancing oddly around with his arms in the air or outstretched at other times. He even climbed up on the drummer's riser, then onto his bass drum, where he proceeded to play and sing half a song during the encore. He also came and sat on the edge of the stage for Central City, to the joy of those lucky fans at the barrier. His voice was, as already noted, in good form, and he had this great growl in the more bluesy songs that was both unexpected and much appreciated.
The set list was pretty obscure; apart from nearly every song from the new album, there was a scattering of covers, unreleased songs and rare tracks. Milk Thistle ("This is a therapeutic song" was Conor's introduction) was amazingly moving live, and I really liked the blues cover Corinna, Corinna.
Sausalito
Get-Well-Cards
Danny Callahan
Central City
Smoke Signals
Cape Canaveral
I Got A Reason #1
Moab
Ten Women
I Got A Reason #2
Sun Down
NYC - Gone Gone
Souled Out!!!
Milk Thistle
Lenders in the Temple
Corinna, Corinna
Kodachrome (Paul Simons cover)
I Don't Want to Die (In The Hospital)
Breezy
The only problem was the sound was quite muddy, and the band overpowered the vocal quite a lot. I enjoyed it a lot more when Conor played the simpler arrangements, usually himself and one other member accompanying him - in those moments it was clear how beautiful and unique his voice is, how affecting the songs are. I particularly loved a slowed down version of Cape Canaveral, with the guitar slapping and extended band jam. Actually, all the band jams were good examples of Americana folk rock at its best. And Conor clearly adores his band, from his descriptions of them as amazing and lovely, and the random shaking of their hands in thanks, and the group hug at the end of the second last song.
Conor himself was ADORABLE. He was a tiny man, smart and oddly formal in a dark suit and tie. He was obviously enjoying his time on stage, playing with passion, dancing oddly around with his arms in the air or outstretched at other times. He even climbed up on the drummer's riser, then onto his bass drum, where he proceeded to play and sing half a song during the encore. He also came and sat on the edge of the stage for Central City, to the joy of those lucky fans at the barrier. His voice was, as already noted, in good form, and he had this great growl in the more bluesy songs that was both unexpected and much appreciated.
The set list was pretty obscure; apart from nearly every song from the new album, there was a scattering of covers, unreleased songs and rare tracks. Milk Thistle ("This is a therapeutic song" was Conor's introduction) was amazingly moving live, and I really liked the blues cover Corinna, Corinna.
Sausalito
Get-Well-Cards
Danny Callahan
Central City
Smoke Signals
Cape Canaveral
I Got A Reason #1
Moab
Ten Women
I Got A Reason #2
Sun Down
NYC - Gone Gone
Souled Out!!!
Milk Thistle
Lenders in the Temple
Corinna, Corinna
Kodachrome (Paul Simons cover)
I Don't Want to Die (In The Hospital)
Breezy
Saturday, September 6, 2008
Jebediah - 5 Sept 2008 - Annandale Hotel
Inside the venue it was warm and already packed with an older crowd ready to relive their late teens and early twenties with a good Aussie band playing a good Aussie gig. And they'd have to be a tough critic with a heart of stone to have come away disappointed at the end of the night.
Jebediah played mostly old favourites from their first two albums, mixed in with a few later songs as well as some new material due out next year. The new songs are catchy and fit in fine with the rest of their set, but it was the old songs that the crowd really came for, and what they really enjoyed. It was a sight to have bald men in collared shirts bouncing up and down to the music like fifteen year olds at their first gig.
Kevin Mitchell has the most adorable grin, and he had it on a lot; the band were obviously very happy to be back on stage after a three year hiatus ("Emo happened," Kevin deadpanned as an explanation). The weird thing was that the band didn't look like they'd aged at all. I last saw them nine years ago at Homebake, but even as we surged closer to the stage they looked just as they had all that time ago. I heard a lot of people around us murmuring the same thing, and I'm leaning towards the band having a collective portrait somewhere in an attic that's growing uglier by the moment ala Dorian Gray, though I suppose 'vampires' could also be a valid explanation.
After about an hour of playing, and having played a good amount of their best known songs - Feet Touch the Ground, Harpoon, Animal, Please Leave - they started taking requests. Teflon was hugely fun, with the whole crowd jumping up and down and yelling '1, 2, 3, 4' happily back at the band leading out of the chorus. At the 'end' of the show, after leaving the stage for a few minutes while the crowd were treated to a wall of reverb, the band returned to the audience's joy, and went into their biggest song of all, Leaving Home.
Then promptly returned to taking requests, throwing in some long forgotten tracks (Benedict! That really took me back to being fourteen again), as well as admitting that they couldn't remember how to play Military Strongmen (to the audience's disappointment), and deflecting the odd audience comment ("But we've already played Teflon!" Kevin said, wryly amused, to one obviously persistent fan). Finally, they settled on Invaders as their last song, as per two fans in the front row, who were then invited to come up on stage and take over vocal duties, which they really took to, complete with air guitaring and rock star moves. It was a hilarious and awesome way to end the night, feeling that no matter how much time had elapsed, Jebediah were still a great band with a connection with the local fans who loved them.
NDC
Feet Touch the Ground
(new song)
It's Over
Animal
Please Leave
Harpoon
No Sleep
(new song)
Fall Down
Teflon
Star Machine
Jerks of Attention
Leaving Home
Monument
Benedict
Invaders
Jebediah played mostly old favourites from their first two albums, mixed in with a few later songs as well as some new material due out next year. The new songs are catchy and fit in fine with the rest of their set, but it was the old songs that the crowd really came for, and what they really enjoyed. It was a sight to have bald men in collared shirts bouncing up and down to the music like fifteen year olds at their first gig.
Kevin Mitchell has the most adorable grin, and he had it on a lot; the band were obviously very happy to be back on stage after a three year hiatus ("Emo happened," Kevin deadpanned as an explanation). The weird thing was that the band didn't look like they'd aged at all. I last saw them nine years ago at Homebake, but even as we surged closer to the stage they looked just as they had all that time ago. I heard a lot of people around us murmuring the same thing, and I'm leaning towards the band having a collective portrait somewhere in an attic that's growing uglier by the moment ala Dorian Gray, though I suppose 'vampires' could also be a valid explanation.
After about an hour of playing, and having played a good amount of their best known songs - Feet Touch the Ground, Harpoon, Animal, Please Leave - they started taking requests. Teflon was hugely fun, with the whole crowd jumping up and down and yelling '1, 2, 3, 4' happily back at the band leading out of the chorus. At the 'end' of the show, after leaving the stage for a few minutes while the crowd were treated to a wall of reverb, the band returned to the audience's joy, and went into their biggest song of all, Leaving Home.
Then promptly returned to taking requests, throwing in some long forgotten tracks (Benedict! That really took me back to being fourteen again), as well as admitting that they couldn't remember how to play Military Strongmen (to the audience's disappointment), and deflecting the odd audience comment ("But we've already played Teflon!" Kevin said, wryly amused, to one obviously persistent fan). Finally, they settled on Invaders as their last song, as per two fans in the front row, who were then invited to come up on stage and take over vocal duties, which they really took to, complete with air guitaring and rock star moves. It was a hilarious and awesome way to end the night, feeling that no matter how much time had elapsed, Jebediah were still a great band with a connection with the local fans who loved them.
NDC
Feet Touch the Ground
(new song)
It's Over
Animal
Please Leave
Harpoon
No Sleep
(new song)
Fall Down
Teflon
Star Machine
Jerks of Attention
Leaving Home
Monument
Benedict
Invaders
Sunday, August 24, 2008
Panic at the Disco / The Academy Is... / Cobra Starship - 22+23 Aug 2008 - Acer Arena + Rod Laver Arena (Melb)
Saw this gig two nights in a row, once in Sydney and once in Melbourne.
Cobra Starship
Cobra Starship were lots of high energy fun, as usual. Frontman Gabe Saporta continues to have the best grasp of showmanship I've ever seen live, he really knows how to work a crowd. In Melbourne they were even more animated than the night before, with Gabe mouthing off at a mile a minute between songs, jumping all over the stage, hanging off his bandmates as he sang for an already enthusiastic crowd. They were fun, as always, though they played exactly the same set in both cities, and were running close to the script with regards to banter.
The City Is At War
Hey Mr DJ
The Church of Hot Addiction
Smile for the Paparazzi
Snakes on a Plane
(Hollaback Boy)
Guilty Pleasure
The Academy Is...
The Academy Is... were much improved from when I saw them last. The two new songs they playedm, from the just released third album Fast Times at Barrington High, worked well live, and were well received by the audience. William Beckett remains a really earnest frontman, though they were slower to warm to the crowd in Melbourne, with less banter and connection.
Their set list overall was a bit odd though, not enough high points with lesser known songs from older albums. They slightly reshuffled of the set in Melbourne, though they played the same songs in both cities, much to my disappointment.
Neighbors
Slow Down
Forever Young = Summer Hair
The Phrase That Pays
We've Got a Big Mess on our Hands
About A Girl
Everything We Had
Checkmarks
Panic at the Disco
Like the other bands, Panic at the Disco played the same set in both cities with banter along similar lines, though there was spontaneity in how they'd react to the crowds' response, and warmth in how much they enjoyed performing. Concerts in stadiums have crap sound, usually, and unfortunately it was true of both Sydney and Melbourne - the mix was uneven such that I could always hear one guitar over the other, and while that meant I got to enjoy Ryan Ross guitar solos very clearly, moments like Brendon Urie's solo in Pas De Cheval had lesser impact, sounding muddier and lost in the mix.
The band had new arrangements of older songs, trying to bridge the difference in sound between their first and second albums, and they sounded good. Apart from the musical aspect, they played such a *warm* show, all light and joy (and flowers and bubbles!), and it reflected the atmosphere of the set.
Fans kept throwing thing on stage, which made for some enjoyable interaction between band and crowd - at one point, Ryan repeated "Brendon just got paid!" since a total of 65 cents had been thrown at Brendon. And I laughed when Ryan declared proudly that he was keeping '20p'. Wrong country! But it was a nice exchange, indicative of how relaxed and amused the band were on stage.
We're So Starving
Nine in the Afternoon
But It's Better If You Do
Camisado
She's a Handsome Woman
The Only Difference Between Martyrdom And Suicide Is Press Coverage
Behind the Sea
Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off
I Constantly Thank God For Esteban
That Green Gentleman
There's A Good Reason These Tables Are Numbered Honey, You Just Haven't Figured It Out Yet
Folkin' Around
I Write Sins, Not Tragedies
Northern Downpour
-
Time to Dance (acoustic)
Pas De Cheval
Mad as Rabbits
Cobra Starship
Cobra Starship were lots of high energy fun, as usual. Frontman Gabe Saporta continues to have the best grasp of showmanship I've ever seen live, he really knows how to work a crowd. In Melbourne they were even more animated than the night before, with Gabe mouthing off at a mile a minute between songs, jumping all over the stage, hanging off his bandmates as he sang for an already enthusiastic crowd. They were fun, as always, though they played exactly the same set in both cities, and were running close to the script with regards to banter.
The City Is At War
Hey Mr DJ
The Church of Hot Addiction
Smile for the Paparazzi
Snakes on a Plane
(Hollaback Boy)
Guilty Pleasure
The Academy Is...
The Academy Is... were much improved from when I saw them last. The two new songs they playedm, from the just released third album Fast Times at Barrington High, worked well live, and were well received by the audience. William Beckett remains a really earnest frontman, though they were slower to warm to the crowd in Melbourne, with less banter and connection.
Their set list overall was a bit odd though, not enough high points with lesser known songs from older albums. They slightly reshuffled of the set in Melbourne, though they played the same songs in both cities, much to my disappointment.
Neighbors
Slow Down
Forever Young = Summer Hair
The Phrase That Pays
We've Got a Big Mess on our Hands
About A Girl
Everything We Had
Checkmarks
Panic at the Disco
Like the other bands, Panic at the Disco played the same set in both cities with banter along similar lines, though there was spontaneity in how they'd react to the crowds' response, and warmth in how much they enjoyed performing. Concerts in stadiums have crap sound, usually, and unfortunately it was true of both Sydney and Melbourne - the mix was uneven such that I could always hear one guitar over the other, and while that meant I got to enjoy Ryan Ross guitar solos very clearly, moments like Brendon Urie's solo in Pas De Cheval had lesser impact, sounding muddier and lost in the mix.
The band had new arrangements of older songs, trying to bridge the difference in sound between their first and second albums, and they sounded good. Apart from the musical aspect, they played such a *warm* show, all light and joy (and flowers and bubbles!), and it reflected the atmosphere of the set.
Fans kept throwing thing on stage, which made for some enjoyable interaction between band and crowd - at one point, Ryan repeated "Brendon just got paid!" since a total of 65 cents had been thrown at Brendon. And I laughed when Ryan declared proudly that he was keeping '20p'. Wrong country! But it was a nice exchange, indicative of how relaxed and amused the band were on stage.
We're So Starving
Nine in the Afternoon
But It's Better If You Do
Camisado
She's a Handsome Woman
The Only Difference Between Martyrdom And Suicide Is Press Coverage
Behind the Sea
Lying Is The Most Fun A Girl Can Have Without Taking Her Clothes Off
I Constantly Thank God For Esteban
That Green Gentleman
There's A Good Reason These Tables Are Numbered Honey, You Just Haven't Figured It Out Yet
Folkin' Around
I Write Sins, Not Tragedies
Northern Downpour
-
Time to Dance (acoustic)
Pas De Cheval
Mad as Rabbits
Wednesday, August 20, 2008
Death Cab for Cutie - 19 Aug 2008 - Oxford Art Factory
They started with Champagne from a Paper Cup, and from there played a short set of rather obscure song choices. One for the diehard fans, with barely any singles (and not the well known ones), reaching back to their second album (of six), barely a nod to their best known albums, and and two non-single, slower songs from their latest.
It seemed to make sense - an intimate gig in an intimate venue for the hardcore fans - BUT the problem was the gig didn't feel intimate at all. Because it was recorded and broadcast live for myspaceTV, the focus seemed to be on reaching the audience out there, watching on their screens, and not those who were crowded at the band's feet.
Ben Gibbard's banter was for those watching online; all the live audience got was a passive aggressive telling-off for talking (you, in the front row!). Though Chris Walla got in a terrible pun that I liked at the end, when they were talking about the possibility of this gig being watched on the space station, and suddenly this voice pipes up from the side, "Myspace station, heh heh heh!"
I enjoyed this gig anyway - it was free, I got to see Death Cab live again, I got to hear songs I wouldn't normally expect to hear live.
Champagne from a Paper Cup
A Movie Script Ending
405
Talking Bird
Grapevine Fires
Photobooth
Title and Registration (video)
It seemed to make sense - an intimate gig in an intimate venue for the hardcore fans - BUT the problem was the gig didn't feel intimate at all. Because it was recorded and broadcast live for myspaceTV, the focus seemed to be on reaching the audience out there, watching on their screens, and not those who were crowded at the band's feet.
Ben Gibbard's banter was for those watching online; all the live audience got was a passive aggressive telling-off for talking (you, in the front row!). Though Chris Walla got in a terrible pun that I liked at the end, when they were talking about the possibility of this gig being watched on the space station, and suddenly this voice pipes up from the side, "Myspace station, heh heh heh!"
I enjoyed this gig anyway - it was free, I got to see Death Cab live again, I got to hear songs I wouldn't normally expect to hear live.
Champagne from a Paper Cup
A Movie Script Ending
405
Talking Bird
Grapevine Fires
Photobooth
Title and Registration (video)
Wednesday, August 6, 2008
Band of Horses - 5 Aug 2008 - The Metro
I'm kind of stuck on "IT WAS AWESOME THEY WERE AMAZING I WANT TO MARRY BEN BRIDWELL'S VOICE". It's tempered on the CD and sounds pure and sweet, but live it just rings and soars. Even when it shouldn't sound so warm, when phrases end in yelps, it sounds like a bell, high and clear. Normally, I get very restless during slow songs, and the middle of the set was packed with softer moments, but I just closed my eyes and let the music wash over me in bliss. The musicianship of the whole band was great, particularly in the guitar work which reminds me of the good parts of classic rock, and the blues. It just sounded so so good overall, note-perfect but with heart and atmosphere that makes a live show worth it.
Apart from the music itself, the band were fun and relaxed on stage, bantering amongst themselves (culminating, at one point, with a foul-mouthed rant from their keyboardist, Ryan Monroe, about New Zealanders and sheep) as well as joking with the audience. Upon being greeted with the typical Whooooooooo! of excitement as they took to the stage at the start, Ben Bridwell returned the call, and would do so throughout the night, a goodnaturedly mocking call and response. A happy fan exclaimed, after a rollicking first four songs, "You guys sound great!" which fell upon a unexpected hush over the room, such that it carried not only the stage but all through the theatre. The band laughed and acknowledged the fannish adoration, attributing it all to the sound guy. They just seemed very easygoing as performers, and cutely aware of the relationship between them and their audience; as they sounded out the very well-known and probably very eagerly awaited for first notes of their best known track, The Funeral, Ben Bridwell called out that this was their "fake last song", and at the end bid us their "fake goodbye", a nod and a wink at the encore to come.
Certain other things kept me amused during the night - the crazy, pogo-ing fan who managed to jump up and down excitedly during every song, regardless of the tempo or mood; the fact that BoH may well be one of the most hirsuit bands I have ever seen and their fans likewise (it was truly a Band of Beards, with muttonchops and moustaches aplenty on the 5/6ths I could see) - but what kept the smile on my face was the band's amazing talent and the wonderful songs. From familiar singles to older songs to fantastic covers to audience sing-a-long as Ben Bridwell pointed first to us and them himself in the refrain of "you...me..." in The General Specific that ended the night, the overwhelming feeling was one of joy, from the band and reflected back by the crowd.
Is There A Ghost
The Great Salt Lake
Islands on the Coast
Weed Party
? (featured a harmonica)
Thirteen Days (J.J. Cale cover)
Marry Song
Cigarettes, Wedding Bands
The First Song
No One Goes Out Anymore (Tyler Ramsey)
Detlef Schrempf
Older (Ryan Monroe)
No One's Gonna Love You
Ode to LRC
Wicked Gil
The Funeral
Our Swords
Am I A Good Man (Them Two cover)
General Specific
Apart from the music itself, the band were fun and relaxed on stage, bantering amongst themselves (culminating, at one point, with a foul-mouthed rant from their keyboardist, Ryan Monroe, about New Zealanders and sheep) as well as joking with the audience. Upon being greeted with the typical Whooooooooo! of excitement as they took to the stage at the start, Ben Bridwell returned the call, and would do so throughout the night, a goodnaturedly mocking call and response. A happy fan exclaimed, after a rollicking first four songs, "You guys sound great!" which fell upon a unexpected hush over the room, such that it carried not only the stage but all through the theatre. The band laughed and acknowledged the fannish adoration, attributing it all to the sound guy. They just seemed very easygoing as performers, and cutely aware of the relationship between them and their audience; as they sounded out the very well-known and probably very eagerly awaited for first notes of their best known track, The Funeral, Ben Bridwell called out that this was their "fake last song", and at the end bid us their "fake goodbye", a nod and a wink at the encore to come.
Certain other things kept me amused during the night - the crazy, pogo-ing fan who managed to jump up and down excitedly during every song, regardless of the tempo or mood; the fact that BoH may well be one of the most hirsuit bands I have ever seen and their fans likewise (it was truly a Band of Beards, with muttonchops and moustaches aplenty on the 5/6ths I could see) - but what kept the smile on my face was the band's amazing talent and the wonderful songs. From familiar singles to older songs to fantastic covers to audience sing-a-long as Ben Bridwell pointed first to us and them himself in the refrain of "you...me..." in The General Specific that ended the night, the overwhelming feeling was one of joy, from the band and reflected back by the crowd.
Is There A Ghost
The Great Salt Lake
Islands on the Coast
Weed Party
? (featured a harmonica)
Thirteen Days (J.J. Cale cover)
Marry Song
Cigarettes, Wedding Bands
The First Song
No One Goes Out Anymore (Tyler Ramsey)
Detlef Schrempf
Older (Ryan Monroe)
No One's Gonna Love You
Ode to LRC
Wicked Gil
The Funeral
Our Swords
Am I A Good Man (Them Two cover)
General Specific
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