Jonathan Richman/Vic Chesnutt
Mr. Smalls, Millvale, PA
It was the 4th or 5th time I've seen Jonathan, but it was the first time since 1986 that he wasn't performing solo. Drummer Tommy Larkins ably assisted Jonathan, and it was a nice addition to the show. Jonathan likes to dance around during his set, but when he's the only musician, such hijinx kind of brings the music to a screeching halt. A drummer at least keeps the beat going throughout, allowing Jonathan to dance or play sleigh bells or cowbell without losing any forward momentum for the show.
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Highlights include "Vincent Van Gogh," "Egyptian Reggae," "Let Her Go Into the Darkness," "Springtime in New York," "He Gave Us the Wine to Taste."
The very incompatible Vic Chesnutt opened the show. Vic's music is so dark and moody, and Jonathan is so childlike and happy, that the pairing couldn't help but be a train wreck. I was late in arriving, so I missed the beginning of Vic's set. Immediately when I arrived, I could feel the tension between Vic and the audience, who were overwhelmingly there to see Jonathan. So Vic started singing some lyrics (apparently) made up on the spot which crystallized the standoffish situation:
He was not having a good show--with technical and tuning problems, and a seeming indecisiveness about what songs to play.
Jonathan's crowd, meanwhile, was very polite. There was no heckling or even obvious ignoring--applause was readily given after each song, if only occasionally rising above perfunctory.
But the tension was clear. The sparse audience remained deep into the rear of the former church which served as venue until Jonathan emerged onto the stage...at which time EVERYONE (myself included) surged forward and spent the remainder of the evening within 20 feet of the stage.
Vic's pointed determination to NOT diffuse the tension--and even, in the case of his improvised ditty I noted, increasing the standoff--was perversely enjoyable as an observer even while being uncomfortable as a participant.
Vic's set-closer, "Actual Quote From An Actual Fan," was a terrific song, though.
It was the 4th or 5th time I've seen Jonathan, but it was the first time since 1986 that he wasn't performing solo. Drummer Tommy Larkins ably assisted Jonathan, and it was a nice addition to the show. Jonathan likes to dance around during his set, but when he's the only musician, such hijinx kind of brings the music to a screeching halt. A drummer at least keeps the beat going throughout, allowing Jonathan to dance or play sleigh bells or cowbell without losing any forward momentum for the show.
post continues....
Highlights include "Vincent Van Gogh," "Egyptian Reggae," "Let Her Go Into the Darkness," "Springtime in New York," "He Gave Us the Wine to Taste."
The very incompatible Vic Chesnutt opened the show. Vic's music is so dark and moody, and Jonathan is so childlike and happy, that the pairing couldn't help but be a train wreck. I was late in arriving, so I missed the beginning of Vic's set. Immediately when I arrived, I could feel the tension between Vic and the audience, who were overwhelmingly there to see Jonathan. So Vic started singing some lyrics (apparently) made up on the spot which crystallized the standoffish situation:
"I am such a 'ny-hilist'I must admit that I enjoyed Vic's performance more as performance art than a display of musical prowess.
And Jonathan's such a smile-ist
And it would be the vilest
If I brought you fuckers down
If I brought you fuckers down"
He was not having a good show--with technical and tuning problems, and a seeming indecisiveness about what songs to play.
Jonathan's crowd, meanwhile, was very polite. There was no heckling or even obvious ignoring--applause was readily given after each song, if only occasionally rising above perfunctory.
But the tension was clear. The sparse audience remained deep into the rear of the former church which served as venue until Jonathan emerged onto the stage...at which time EVERYONE (myself included) surged forward and spent the remainder of the evening within 20 feet of the stage.
Vic's pointed determination to NOT diffuse the tension--and even, in the case of his improvised ditty I noted, increasing the standoff--was perversely enjoyable as an observer even while being uncomfortable as a participant.
Vic's set-closer, "Actual Quote From An Actual Fan," was a terrific song, though.
Labels: Jonathan Richman, Millvale, Mr. Small's, PA, Vic Chesnutt
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