A tale of two concert films - as close to musical heaven as a non-concert experience can get.

First, let's get the commonalities out of the way. The two bands - U2 and Rolling Stones come from across the pond - Ireland and Britain. Both have defied expectations in terms of how long a band is expected to last. In one case (the Stones), the key band members have unchanged for over 40 years. In the other , all members of the original line-up are still around after over 25 years. Even as age catches up with them, they are still vital, wowing audiences worldwide with their skill, craft, virtuosity and showmanship.

U2:3D plays on the near-myth status of U2 as one of the biggest rock acts in the world. Using latest digital technology, the dazzling visual feast that is a U2 concert is milked to the limits. Spare (there's no one on the dimly lit stage through the whole concert except the four band members) and grand ( huge video screens with dazzling visual effects) at the same time, the concert film too is akin to the religious experience that a U2 concert is purported to be.

Visually, it's stunning. The 3D effects that are used only for a few kicks in movies like the latest Harry Potter film are showcased to their full potential as Bono reaches out his hand and you high-five him in the middle of Vertigo. Vertigo does ensue as a camera on a lift zooms in on Larry Mullen Jr.'s drum calisthenics from behind him as the camera gives you stage access like you'd never dream.

Then there are the songs. Be it old staples like Sunday Bloody Sunday, Pride (In the Name of Love) and Where the Streets Have No Name or new favorites like Vertigo and Love and Peace (or Else), bombast isn't a term lost on the Irish quartet. I wouldn't tolerate this from any other band, but to paraphrase another superstar, they make this look good.

For a U2 junkie like me, it's manna from straight above.

Shine a Light is a complete contrast. While U2 has always been about changing the world and making a point, the Stones, it seems, are just out to have a good time. Musically inspired by the blues, they make being melancholy look like fun too. Brightly lit stages, red costumes for Mick Jagger and a whole retinue of backing instrumentalists all combine to make Shine a Light an absolute joy.

As Mick Jagger shimmies his way through classics like Brown Sugar, Miss You and does a twist with lesser known songs and covers of blues pieces, a different kind of genius shines through. The visual pace here too is frenetic with quick cuts from multiple cameras under the assured guidance of movie rock star Martin Scorsese. Old yet new, cocky yet respectful (of the blues) and sad yet happy only in the way blues (and ghazals) can be, the Stones show just why they are such a class act. 

As the encore winds down, they've also played a few radio and soundtrack staples including Start Me Up, (I Can't Get No) Satisfaction and that rocking ode to Lucifer, Sympathy for the Devil.

In the process, they win over a fan for life.

Heaven forbid you dance

Reflections on Sasquatch, indie music and pretentiousness

I finally went to Sasquatch this year. I've been meaning to for the last couple of years, but life gets in the way - other plans, family visiting et al. It was an immensely enjoyable day out. Gorgeous weather and lots of great bands made for a vasool day of entertainment.

Seeing a bunch of upcoming and established bands - Beirut, Ozomatli, Crudo, Modest Mouse and R.E.M. was a great experience - even with the rain that graced the ending part of the day. The only bad note was M.I.A. - a lot of people loved her act, but I was left cold (literally and figuratively) by her dancehall/ reggae/ electronica mix.

The day reminded me of the site 'Stuff white people like' (Hat Tip: India Uncut). They have an entry for 'standing still at concerts'. I quote:

The problem is that most of the music that white people like isn’t really dance-friendly. More often the songs are about pain, or love, or breaking up with someone, or not being able to date someone, or death.

So when white people go to concerts at smaller venues, what to do they do? They stand still!

It struck me forcibly when Beirut and Ozomatli performed in quick succession.

Don't get me wrong. Beirut's music is gorgeous. Ukulele, trumpets and Balkan brass band sounds all come together and the music has texture. You can feel the layers in the music combine, making it more than the sum of its parts. What got to me was the somberness of it all. I mean, Zach Condon, the guy behind Beirut is all of twenty-two years old. He's been creating music since he was 15. Isn't that too young to be so dreary? As I say to a colleague at work (who's 22 incidentally). " Aren't you too young to be so bitter?"

It's something I've been feeling for a while now and reading the blog post on 'standing still at concerts' a month back made it stick. So much of the indie music I hear (not all, but enough to make it a trend) is goddamn downbeat. Death Cab for Cutie, Fleet Foxes, The New Pornographers (all performing at Sasquatch) fall into this category. So do that indie favorite, The Shins and many others I keep hearing being hyped up on indie radio. I stopped following recommendations on popular music sites and radio stations because it was all getting so pretentious and precious.

After Beirut left, Ozomatli came on stage and changed the mood of the crowd on a dime. This Latin rock/hip-hop group from L.A. really knows how to throw a party. They had the crowd rocking in no time to their infectious mix of Latin, hip-hop, rap, dub and general joyfulness. In the defense of M.I.A, her music throws political bombs but she manages to keep the party going while doing that.

Another new group I saw, Crudo ( Dan the Automator's side project) helped you let your hair down as well. They combined hip-hop, rock and some neat work on the turntable to put out a irresistible mix that you couldn't help dance to. These three turned out IMO to be the best showcases for going to a music festival to try new music. I was really impressed by R.E.M's set as with Modest Mouse, but they are the biggies. I wouldn't expect any less from them.

To kind of reinforce my point on how annoying and insular indie rock can get, I point you to KEXP's blog post on day 1 at Sasquatch. Not even a mention of one of the smaller bands (Ozomatli and M.I.A were both on the main stage). I rest my case.

Notes on a musical journey (not mine though)

When you've been following a band from very early in its career, there's an odd sense of ownership you feel about it. Even though you don't know the artists personally, you still feel that because you heard them ply their trade from a time when it was (arguably) free of artifice. It's special to you because you 'knew'  them before most of the world did.

I've felt this way about Howie Day in the past and I definitely feel that way about Rodrigo y Gabriela now. I first heard Rodrigo y Gabriela on that fount of indie music in the Northwest, KEXP in July 2006. The track was a fabulous cover version of Stairway to Heaven. I, however, didn't pay the duo much attention.

In December '06, I heard an original by them (Tamacun, if you must know) on another radio station. I was instantly hooked. I bought their full-length debut album. It's called Rodrigo y Gabriela (duh).

Rodrigo and Gabriela make up the band. Just the two of them. They play acoustic guitars in what may be loosely called the flamenco style. But it's not really flamenco. Their playing is frenetic. But they churn out surprisingly good melodies. Genres? I'm not sure they ever learnt what that meant.

It's at times hard  to realize that it's just two people on acoustic guitars who are creating so much of a ruckus. Also, they use their guitar boxes as percussion pretty well. Figures, considering they got their start busking on the streets of Dublin. Their dueling styles makes it seem like they are doing a complicated dance, one leading with the other content to play second fiddle. Then they change it around.

The love affair with their music continued. Stairway to Heaven on MP3 was followed by Wish you Were Here that I saw on YouTube. Their original Diablo Rojo is on my playlist all the time. But that live show was ever-elusive.

I somehow learnt of their show in December '06 the day after it took place. In April, they played in Seattle again. I had sufficient notice, but the show got sold out while I was on vacation in India. They then played at Bumbershoot which I didn't go to. I watched as they played bigger venues, selling them out at higher and higher prices.

Then, this October, my chance came. On October 31st, Rodrigo y Gabriela played The Paramount, tickets costing almost thrice what they did last year in a venue that was at least two and a half times the capacity. The auditorium was packed, a sold-out show again.

Were they worth the interest? Absolutely. Dressed in their Halloween best, they took the hall (normally host to musicals and the like) by the scruff of its neck and gave it a thorough shaking. If you can believe it, in addition to a lighter-fueled Wish You Were Here and crowd favorite Stairway to Heaven, they did a version of Metallica's And Justice for all. All acoustic, with a small bit of distortion to help. It was un-effing-believable.

My love affair with them may end if their sophomore effort isn't great. But for now, let the guitars rule.

This concert season is shaping up to be better than last year. Last year's highlight was watching Indian Ocean live for the first time, but not much else other than Joe Satriani. This season, we had the night of the double-bill and a freebie gala at Pike Place followed by a magical night of smooth jamming at The Gorge with Dave Matthews Band - with good friends along, it was one perfect end to the summer.

Topping off a good concert summer was a seductive performance by Brazilian Bossa Nova singer Bebel Gilberto at the Showbox this Monday.

Bebel Gilberto had all the moves on stage - the thigh-high boots, the sipping of wine in an exaggerated style and her husky voice reminding one of smoke-filled jazz clubs by the waterfront. However, the music and singing was top-notch. It's not for nothing she has such a following the world over, language barriers and all.

Backed by opening band Forro in the Dark on drums, flute, saxophone, multiple guitars and percussion, Bebel had the crowd swaying to the smooth sounds of Bossa Nova. The tunes alternated between jazzy seductive pieces (taking one to aforementioned smoke-filled locations) and cheery, festive tunes transporting one straight to the beaches of Brazil in the midst of summer.

AG and I got lucky, snagging free tickets courtesy a radio station giveaway. I had to scramble to get my pre-purchased tickets sold, but it was well worth it.*

*Well...you can say a free concert is always worth it. But time is of value too. And a bad concert is never worth it.

I'd resolved to not make this blog a diary of any sort. It's meant to encapsulate what I'm thinking, what my opinions are, a snapshot of who I am at any point of time - personal references (uncomfortable or otherwise) expunged.

However, there are events that are worth mentioning. Just because I like to show off :)

Pike Place Market celebrated its 100th year anniversary in style. Week-long celebrations culminated in the grand finale with an ensemble of Seattle-area musicians playing Seattle-area music, including the infectious Louie Louie and a rendering of Spoonman with Mr. Spoonman himself accompanying the proceedings. And before I forget, Pearl Jam's Stone Gossard and Mike McCready performed on stage. Mike McCready also performed Jimi Hendrix covering The Star-Spangled Banner.

Did I mention this was free?

---------

AID Seattle had an 'India Quiz' this weekend. After doing a few BCQC  and inquizitive quizzes over lunch with friends, the real deal seemed exciting. K & I were registered as a team.

There was a high level of enthusiasm - attribute this to the lack of quizzing action since leaving college for most people here (I caught the quizzing bug later, I don't count). The elims questions were mostly well-set, with a notable few Malayalam Manorama questions (as Ramanand likes calling them) - including "What is the highest bridge in India called?".

20 questions, six finalists with twelve right answers each who had to be whittled down to five. The elimination asked us to write down the names of all Indian PMs since Independence. Gulzari Lal Nanda saved the day as we made it through smoothly.

The finals questions were similar - a good set of questions mixed in with clunkers like 'Tell me the exact date the Jallianwala Bagh massacre took place'. The AV round was interesting too - it included speeches by Swami Vivekananda and an audio recording of P Gopi Chand winning the All England open. Most annoying to me was my mistaking Shikari Shambhu for the Air India Maharaja.  

K & I won - giving credence to the credo Allah meherbaan to gadhaa pehelwaan. Our team was called 'Professors', an inside joke among us CRY volunteers here. I wanted to name us If you come today, but K refused.

All in all, a good experience - reminded me of the small number of quizzes I did attend while in college.

A tale of two gigs

One, a storied band with fifteen years of solid live reputation behind them. Cult, as it were, yet growing in popularity.

The other, someone who just annihilated his past of lighting up stadiums worldwide with his power playing to go back to the basics: songwriting, an acoustic guitar and a harmonica.

The two juxtaposed uncomfortably (for me, that is). Conflicting schedules, a mad scramble from venue to venue, but mostly good timing. The ending part of the Indian Ocean concert was missed, but such sacrifices have to be made.

Highlights: An amazing new track Bhula Raha played by Indian Ocean. It appears on their new "live in concert" DVD. Plus, as always, amazing renditions of old favorites.

A rockalicious rendition of Guerilla Radio on guitar and harmonica by The Nightwatchman. He was preaching to the choir, sure, but who can resist singing along to:

"It has to start somewhere, it has to start sometime,

what better place than here, what better time than now?"

Guess who's back

Indian Ocean is back in Seattle on the 18th of July.

For those Seattle-area vasis who read my blog (yes, all two and three-quarters of you), you already know through other channels. If (surprise, surprise) you didn't know, the nitty-gritties are here.

Fab band, great venue, fun comes.

Other gigs on this leg of their US tour.

Previously: Indian Ocean in Seattle , Indian Ocean - an oasis of hope, More Indian Ocean

I came, I saw, I conquered...

From record sales, to sold out concerts
So muh'f*$%er if you want this encore
I need you to scream, 'til your lungs get sore

- Jay-Z "Encore"

Indian Ocean took over and rocked the bejesus out of a 500-strong audience yesterday night. Sore from all the dancing, hoarse from singing along and generally overwhelmed by the coolness of Rahul, Asheem, Susmit and Amit, I'm at a bit of a loss right now. More details will follow...

Indian Ocean - live in concert. Benefit for Child Relief and You, America.

August 11th, 2006 - Neumos, 925 E Pike St., Seattle, WA.

Setlist:

1. From the Ruins
2. Kya Maloom
3. Melancholic Ecstasy
4. Jhini
5. Leaving Home
6. Hille Re

BREAK

7. Bandeh
8. Bhor
9. New Song- As yet untitled from the soundtrack of the movie "Shoonya"
10. Boll Weevil
11. Maa Rewa
12. Kandisa
Encore - Kaun

It's happening...

Finally, India's finest make it to the Pacific Northwest. Indian Ocean perform in Seattle on the 11th of August.

Proceeds go to support CRY.

Rock-alicious

Bon Jovi rocked Key Arena on the 6th. Old favorites coupled with some surprisingly thoughtful songwriting on the new album made for a fun show. Then of course, there were the screaming women. I had ringing ears long after I came out, and the number of people singing along to "I'll be there for you" was enough to make you cringe.

I realized that the songs of Bon Jovi I like are different from the ones that are the most popular. The most loved ones are the "power ballads" - what I'd call the sappy love songs - "Always", "Bed of Roses" and "I'll be there for you". I prefer their "young rebel" ones ("Blaze of Glory", "Dead or Alive", "Keep the Faith") - keeping with the age I started listening to them.

I'm not complaining since they did sing the songs I wanted to listen to.

So, here goes the list of big acts I've seen live so far:

Mark Knopfler
Bryan Adams
Def Leppard
Coldplay
Bon Jovi

If I see U2, Eric Clapton and Pink Floyd (fat chance eh?) perform live, I can die satisfied.

Howie Day Live

I finally went to a much-anticipated concert to watch Howie Day, live at The Showbox in downtown Seattle on the 9th of August. As mentioned earlier, an insanely hectic week meant that I was looking forward to the energy the concert would provide and I wasn't disappointed.

Opening act was Missy Higgins, apparently one of Australia's top singers right now. Amazing voice and great songwriting to complement the bare orchestration - just her on the piano(keyboard) and one guy on acoustic guitar. Her songs are now familiar to me, thanks to KCRW, and seeing her live was good fun. She was surprisingly down-to-earth, staying on to sign autographs and sell CDs with her crew. The crowd lapped it up, and her CDs sold briskly. Great numbers included 'Ten Days', 'Scar' , 'The Special Two' and 'All for Believing'. Her most beautiful verse?

I remember someone old once said to me:
"Lies will lock you up with truth the only key."

Howie Day has been touring with Anna Nalick, who was up next. Again, great voice, and interesting songs. Breathe (2AM) is her single doing the radio rounds right now, and she says it beautifully:

2 AM and I'm still awake, writing a song
If I get it all down on paper, its no longer
inside of me, threatening the life it belongs to
And I feel like I'm naked in front of the crowd
Cause these words are my diary, screaming out loud
And I know that you'll use them, however you want to

After the customary break, it was time for Howie Day himself. He started off with "Perfect Time of Day", a lovely, upbeat melody.

Since gaining fame, Howie has a full band and doesn't perform solo with only his set of pedals and delay and echo effects to burnish his singing and guitar playing. He did use them sparingly and to great effect this time though. However, all these years of touring has given his set a certain rigor. He is able to play a great set, yey maintain his spontaneity (his shows are generally different - he doesn't do exactly identical shows) and riff off the audience reaction. He did some great songs, including staples 'Ghosts', 'Sunday Morning Song' and 'Brace Yourself'. At least twice, he played the start of the Beatles' "Day Tripper", but he admitted that he and his band didn't know how to do the song, or they'd have done it.

Howie Day's strength IMO lies in the strong melodies he creates. There are people who like his songwriting, but I find it slightly (deliberately?) obscure, though enjoyable. His melodies are awesome though, and these are songs that you can hum or whistle along. They are also incredibly catchy, a fact proved by crowd favorite "Collide", the new song "Be There" and by the encore "Morning After". A great song was also the cover of Crowded House's "Don't Dream Its Over".

All in all, an evening worth remembering.

It's the perfect time of day
It's the last day of your life
Dont let it drift away
While your heart is still racing...

Links: Still waiting for a recording of the concert to go up on the Internet Archive, but there's some photos on this fan forum (you'll have to scroll down a bit). Cameras are normally not allowed, but people get away with it in the crowd and darkness.

Mark Knopfler Live

"And 'twas a ticket I was looking for
On Every Street"
- Shamelessly ripping off Dire Straits' On Every Street

A fortnight of trying for a ticket to Mark Knopfler's sold out show yielded no return. After resigning myself to missing out, a chance email on a company mailing list on Friday helped me strike gold. Singing praises to a kind-hearted person who sold a lone ticket to me at cost, I made my way to Chateau St. Michelle Winery's open-air amphitheater on Saturday night to catch the man live in concert.

Jimi Hendrix I believe has the official moniker of Guitar God. In the polytheistic religion of music, Jimmy Page, Eddie Van Halen, Joe Satriani et al have all been given this title at different places by different devotees. Like Hirak before me, I bow to Mark Knopfler, the finger- picking Sultan of Swing.

The setting was perfect. A bright, sunny day with nary a cloud in sight. Mount Rainier on the horizon. The sweat was dripping down my back as I made my way to sit down at a good location. Copious amounts of water was consumed, and restlessness set in as an attempt was made to pass the time.

The opening act was William Topley, who played a middling set of folk-country/rock numbers. Honestly, I was too pumped up in anticipation to really even listen with much interest. As the support crew set up the variety of guitars on a stand next to the stage, I enviously eyed the VIP pass holders who had a straight-up view of the stage. I managed to make my way through and find a place on the fringe, where I could stand within around 10 metres of the stage.

As the man himself made it on stage, I couldn't help but wonder that in his plain white shirt,jeans and glasses, he looked more like an avuncular professor of English than the virtuoso master who once set stadiums alight with his guitar. He launched into Why Aye Men, followed by the immediate crowd-pleaser Walk Of Life.

I'm a big Dire Straits fan, and haven't heard much of his solo work (barring Sailing to Philadelphia) . But the trademark plucking in What it is followed by the beautiful songwriting of Sailing to Philadelphia set the tone. Romeo and Juliet was followed by Sultans of Swing which brought the house down as expected. It was followed by a set of band introductions, and a set of songs from his solo albums (Bonaparte, followed by a couple I don't know). He showed off his slide guitar skills on one of them, and Bonaparte had some interesting Ukulele by his guitarist. Seeing him with his tea up on stage was funny, but it kind of set the tone for the concert, which was more like a relaxed summer event than a ba!!s-out rock show.

Then Boom Like That, his current single all over radio followed by Speedway at Nazareth. Then, of course, my personal favorite - Telegraph Road. Hearing that characteristic guitar riff at the beginning of the song was my Goosebump Moment Of the Day.

The encore included more Straits staples, Brothers in Arms, Money for Nothing and So Far Away From Me.

All in all, an evening worth remembering. Gripes as always - no Portobello Belle, no Twisting By the Pool or Down To The Waterline. No Private Investigations. Can't help it with a body of work as accomplished as that, I guess.

As a college-goer, I had two ambitions in life - to play the guitar like Mark Knopfler, and to dance like John Travolta. I am nowhere close to accomplishing any of them. But life is good. I saw a God in the flesh, and he looks like a quiet professor of English. Until he picks up the guitar , that is.

I'll try to get a setlist up, but it looks suspiciously identical to the one Hirak has here. I'm guessing there isn't much variation across shows. No cameras or recording was allowed (venue policy, more likely than not). The official website has info on concert downloads being available.