Live Music Is Better?
Michigan Theater, Ann Arbor
Sept. 19, 2001
As Neil Young’s rabid hyperrust.org fans have long proclaimed, “Live music is better.” I’ve always bought into the notion, but for the first three-quarters of Williams’ two-hour set, I was beginning to question it. Sitting in the beautiful, yet sterile Michigan Theater, sitting for way longer than I’d think someone who pays $28 to see a show would want to, I started to get antsy. Is this show ever going to rock?
Well, it did rock, eventually, and I left satisfied. I never did get up out of my seat, and neither did anyone else. No dancing in the aisles, and of course, no smoking or drinking in the theater—only in the lobby or outside on the street could one indulge any vices. Which brings up a point far more important than any analysis of Lucinda (in a nutshell: She’s sexy, she can play, she’s got a great band, and her voice is far more amazing live than it even sounds in her very good recordings). What are we doing going to see musicians play in stuffy theaters, bland concert halls, and venues that don’t allow the sex and drugs? Is this rock and roll, man, or what?
The thing that makes rock rock is that it’s inherently dangerous. Not necessarily violent dangerous (which it can be), but dangerous like it might shock you or bring about unintended consequences. In a good way—cause you to get up out of your seat, move a little bit, have another beer, shake your ass, dance with a stranger, break a sweat. Rock might just exceed your expectations, it might sound better than it did on that CD. It might make you stop and say, “Damn, I oughtta quit my job, buy a guitar and move to Austin.” Now we all know we’re not going to do that, but we might just have a flash of fantasy where we consider leaving the wife and kids and the mortgage payment. . .
So Lucinda is a prime candidate to bring those emotions, those vibes, to even the most corporate-free-ticketed yuppie type. Hell, that’s what her songs are all about. And with a pretty damn near full house, a lot of enthusiastic fans, during an emotionally-charged week, this was rock and roll waiting to happen. But we all just sat there, politically-correctly clapping enthusiastically after each song and then fading to a silence, waiting eagerly for the next track on the, err, set list. Two second pause. The band resumes playing. Why is this happening?
I can blame it partly on Williams. I realize she’s got to warm up those pipes, but to come out and play the first two songs on Car Wheels in order, sounding exactly like the album, well, that wasn’t such a good way to set the tone. Especially when you figure she’s got a lot of slower songs and ballads, and she’s obviously not going to let the band loose on every joint. So for the first hour and a half, the rocking numbers that could have whipped up the crowd kept getting deflated by the next song. Great tunes all, but the set was seemingly designed to inspire passive listening, as if two songs in a row with guitar solos might have caused civil unrest. (A thought, perhaps more true than it might seem.)
Now you might be thinking that I’m being hard on Lucinda, just bitching about a set list that wasn’t in my preferred order. Or wanting her to be something she’s not, a reckless rock and roller the likes of Stevie Ray Vaughn. But that’s not it at all. Get this: Williams comes out for the encore, tells the audience that the next song is the best explanation of her “feelings” that she’s ever heard; it was written by Bob Dylan. And as I whisper, “Masters of War,” she starts to strum the opening chords. The audience goes wild and she and the band deliver the statement I’ve been looking for all night: This is a dangerous lady; she wants peace.
I’ve been thinking about Williams’ performance all day now, and I keep wanting to compare it to when I saw Neil Young’s Ragged Glory tour. It just so happened that we were in a similar state of political unrest when I trecked out to Auburn Hills to see Neil play with Crazy Horse in 1991. He came out of the darkness with a distorted guitar note that rippled into another of Dylan’s songs, “Blowing in the Wind.” Charging up the crowd from the draw, he and the Horse told it straight: Support the troops, think twice about the war. Not unlike Williams, his set had some slow numbers, some rockers, some electric, some acoustic. But we didn’t sit on our hands, because Neil had given us reason to stand in patriotic pride, in defiance, in awe. Williams may have given us just as much, but she was already half out the door when the message came. And part of me doesn’t blame her, because part of me doesn’t think the audience or the promoter would have wanted it differently.
After all, just one more song and it was eleven o’clock—time for the respectable people to go home and return the babysitter—and the lights came on. Lucinda had delivered, at truly the eleventh hour. We were all happy, but as I scanned the crowd, there were a few that had the same look in their eyes as I did. Again: What are we doing here? We should have been sitting down at the bar right now, trying to carry on a conversation over the ringing in our ears, debating the merits of Essence and Sweet Old World. We should at least have been able to light up, smoke that after-climax biscuit, and rub our weary eyes.
And this problem is not just here at this show, but everywhere. Good old venues are disappearing, replaced by clean and corporatized places in neighborhoods where people with good jobs aren’t afraid to park. Promoters aren’t willing to take any chances, and when the non-mainstream, usually-NPR-backed artists do tour nationally they all seem to get stuck into a sort of pre-fabbed concert experience that’s about as exciting as going out to get a frappucino. Williams’ statement is downright daring in this climate. Even in a place as supposedly progressive as Ann Arbor, there’s just no space for the sort of venue or band that might push the limits of social acceptance. Don’t believe me? Ask Chris Robinson why he plays in neighboring Ypsilanti when he comes to town now and whether it has anything to do with the Black Crowe’s “no-enforcement” of marijuana laws requirement at their concerts.
Audiences are perhaps even more to blame. I remember going to see Johnny Cash at a county fair a few years ago and being told to shut up by some jackass in front of me because I was singing along to “I Walk the Line.” That guy seems to turn up more and more with every show I attend. He paid his Ticketmaster service fee* and damn it, that gives him a right to sit on his ass and be pissed at anyone who wants to Stand Up and Shout. Considering that everyone can already “see” the artists on VH1 and MTV, the ostensible reason to come to the show is to see and hear something bigger, something more than what you can find on the recordings. Yet it’s almost as if a sizeable chunk of the people come to shows to sit and listen with the expectation that things will be “as seen on TV.” Are artists afraid to fuck with a song (in the fashion of Wilco’s amazing “punk” version of “Passenger Side”) because some radio-listener might not recognize it? Tell me it ain’t so. . .
There’s trouble everywhere in the music biz these days, from radio banality to blockbuster-oriented sales tactics to independent record store failures to ridiculously-priced pay-TV mega-concerts. Add the deterioration of the local live concert to the list. If things continue this way, I might just have to move to Austin…
*My ticket was bought at the box office without paying Ticketmaster one red cent in service fees. Fuck Barry Diller.
8 thoughts on “Live Music Is Better? Lucinda Williams in Ann Arbor”
God love ya Sabu. I agree with you and I remember that jackass at the Johnny Cash show. Why didn’t we give him what-for? I’ll tell you, it drives me nust when I hear people complain that a live show “didn’t sound anything like the CD.” Go listen to the CD moron! I want an experience! I’ve seen Neil Young and handful of times and I better NOT hear the same old Harvest version of “Heart of Gold.” I can tune into any oldies station in America and hear that in ten minutes.I don’t tend to jump in on the whole corporate America debate that much but music is one area that corporatization is fucking up, be it on the radio, the record label rosters, MTV or live venues. Remember when you got hassled for smoking at Pine Knob (new name escapes me and nobody cares)? That was an OUTDOOR venue! Good God, man. No smoking indoors, outdoors or on the moon! After the Woodstock debacle don’t be surprised to see beer sales fade away. That’s when I start my own festival called “Do drugs till yer eyes pop out tour.” And that from a clean livin’ American!
Sounds to me like the venue got you in a bad mood. Can’t help it if the hall doesn’t sell liquor. A so-so lucinda concert beats a day at work anytime. If you arrive early to a concert that doesn’t sell booze, I call that “bad planning.” That what drugs were invented for. Moving to Austin might loosen that corporate music structure that killed your music enjoyment experience. We are celebrating the Soap Creek Saloon reunion here soon, that’s a place where we used to drink booze AND smoke pot while watching live music. You don’t have to be stoned or have a drink to enjoy good music, but it sure doesn’t hurt!
Two weeks ago I saw the White Stripes at a dive in St. Louis called the Creepy Crawl. We stood in line 2 hours before the show, watching the line grow around the block to see “the next big thing”. I had never been to the creepy crawl, and when we get in, i found out just how perfect a place for rock n roll it was. Small place, low stage, kinda crappy sound, a chain link fence around the bar keeping out the minors! As the audience filed in, lit up their cigarettes and ordered their drinks, the place began to get steamy. By the times the white stripes went on around midnight, everyone in the place was dripping in sweat. There isn’t a lot i can say about that show except it reaffirmed my belief that rock n roll truly can change your life. There was nothing corprate about it. Only a group of people who believed just as i did, and musicians who believed in the power of the music. It felt like any minute something dangerous and exciting would no doubt happen. I looked over at a couple of friends of mine who i had dragged along and couldn’t help but notice the joy on their faces and in their bodies as they danced. Jack was so sweaty that every time he accidently got to close to the mike he got shocked. And, when they ripped into ‘jolene’, and about 150 sweaty believers began to dance, it seemed like rock n roll truly could save our lives.
Sounds like more of a review of the venue than the concert. Kee-ripes dude, whether or not someone paid the tikketmaster extortion fee, I’m sure they don’t want to hear your voice singing. If you’re that good, you’d be on the stage.I happened to be there and it seemed a good mix to me. You know, Lucinda is a mix of folk, country, and rock, all played while singing the blues. Maybe you didn’t want to hear “Sweet Old World”. Perhaps those slow sad ones from Essence “Broken Butterflies”, “Blue”, and (in my opinion) one of the saddest songs ever written, “Out Of Touch”. Hey, those tunes don’t rock. Sorry if you need a drink in your hand to enjoy the show. Catch an act at the Magic Bag next time. I’ve enjoyed some pretty hectic stuff there.A comment concerning the crowd: Ann Arbor might be progressive but they have a reputation for being laid back. Heck, they put 110,000 people in the stands for a football game and they don’t make much noise. Peace – might not of agreed with you but you have great taste in going to see Lu.
http://www.denverpost.com/Stories/0,1002,78%257E94512,00.htmlA review from the Denver show: “Lucinda Williams gives stellar, if subdued, concert.”
It’s funny that you posted this review. I saw Williams a couple of months ago at the State Theater in Kalamazoo. I had mentioned to Jake that I might write up a review for GloNo, but never got around to it.I found her Kalamazoo show to be pretty damn cool. It wasn’t a “Rock” show, however, but her moody, slow songs from Essence came out much louder and stronger than on the album. I did notice what seemed to be a sense of nervousness from her. The set started with a tenseness to it, but after a few songs she just rolled along. I loved it.One reason might have been the fact that I was able to buy some of those $8, 32oz Bell’s beers at the bar in the State Theater. But unlike one of the last shows I saw at the State, Mustard Plug w/the Porters and someone else I can’t remember, I didn’t do any stage diving. i also didn’t pass-out in my truck. The crowd at the State that night was made up of greying new age nerds, frowning No Depressioners, Gap wearing Yuppies and a small smattering of young punks and country crossover fans. People were so damn polite that I wish I COULD have done a stage dive, but the last time I did that no one caught me.I think that if you saw Lucinda in a crappy little bar in Chicago, or maybe even in Club Soda in Kzoo, you’d find a crown of real fans who have some emotional understanding of what the blues and rock mean. Unfortunately, in a way, she’s “made it”, at least in the lower echelons of corporate rock, and she’s making the theater circuit. This kind of success goes hand in hand with “family night” specials, no beer, definately no smoking, and a crowd of not very original or exciting fans who probably spent the night before watching either Touched by an Angel or the Missing Link.She still is one fine lookin’ woman, though. And, man, she can sing and play guitar. I’d go see her again for $28! But I’d pay $35 if I knew ticket master wasnt’ getting any.
Well done, Jeff. I think that your performance here is better than 99.9% of the performances that people pay for in concert halls or other venues. All of which is to say that the venue doesn’t matter as much as the performance.