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playthehits-blog · 8 years ago

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Andrew Bird - Ace Theatre - 5.14.16

In the name of procrastination, it is yet again time for another posting in my impeding “Yesteryear” series of concert reviews. This edition will feature the magnificent “Dr. Stringz”, or Andrew Bird as he is most commonly known. That is also the name that his mother knows him by, simply because that is the name that she gave him at birth, so of course she would know him by that name. Anywho, Andrew Bird is a long-standing, multi-instrumental artist who has a very rich history that spans a time longer than many of his fans lives. This was the second installment of his that I have been fortunate enough to attend, and much like the first time, this may have been the most diverse crowd for a show that I have been present at. It featured everyone from hi-brow/fine-art/wine-and-dine elders to angst-infused teenage indie-folk newcomers, and everyone in between (including myself, who probably lies somewhere in the middle of both categories, with unfortunate similarities to both…). Thankfully, that’s one of my favorite things about Andrew Bird and his music; it’s entirely enjoyable to those of all groups and ages, while not being driven by popular modes of music. This is highly due to Bird being one of the most prolific violinists in non-classical music today. Being trained under the Suzuki philosophy since his childhood, Bird’s instrumentation often mimics his vocal inflection and melody. Pairing this with an abundant use of pizzicato, a technique used typically by stand-up bassist and cellists, Bird’s offering is unlike most in all of folk-rock. As you can imagine, Bird has long studied, showcased, and explored his violin talents for the better part of the last four decades, and his luxuriant display of talents do not stop there. Bird himself is also very well known for his embellished whistling, along with the ability to play nearly all lute instruments. His authority of all things strings coined him the aforementioned title of “Dr. Stringz”; a character he portrayed in a children's TV show (so cute). Take a peek through his thorough recording history, and you’ll find no room for doubt to strip him of this deserving (albeit childish) accolade. More so than this, what makes his offerings so much more engaging is his impeccable (and educational) ability to sing about the most peculiar subjects. Likely the smartest person in the room on any given day, Bird’s vast intellect of all things astronomy, biology, geology, neurology, and all other gy’s makes his clever lines and floating rhymes magnificently impressive. I consider myself a huge fan of his, yet often times I haven’t the slightest idea of what he is talking about. It’s equally as enlightening as it is frustrating, mainly due to my inability to understand his references. Either way, it makes the time spent with his music all the more an engaging experience, one that you won’t soon regret.

Moving on to the contents of the night (and to the context of which I mean to babble on about and waste your precious time on), this particular concert was to promote his most recent album (at the time of the concert, clearly not at the time of this outdated, shorthanded excuse for literature) “Are You Serious”. In the days leading up to this concert, there was much room in my existence for garnered excitement, as the previous time that I saw Bird was one of the most enjoyable nights for myself. This time differed as I had previously seen him in a smaller theater, whereas in this installment, Bird would showcase his talents at the Ace Theatre, which is a much larger setting with assigned seating. I’m sure many can agree that a setting such as this suits Bird best, as the acoustics of the hall allowed his previously mentioned talents to carry throughout the theater seemingly effortlessly. This beautiful display began with a brief excerpt from Alice Coltrane’s “Journey In Satchidananda” from a light-less stage. Going on for a few moments, the band broke into “Capsized”, the opening song from AYS [...”Are You Serious”. I like the use of acronyms that only I know the reference to. Makes things more fun for me, and more frustrating for you (??), which is subsequently more fun for me…unless of course no one reads this, which nobody does, nor should, so joke’s on me I guess]. As this song kicked in, so did the stage lights, and the night was in motion...literally… Some random woman who was vibin’ more than a noodle in boiling water (with movements similar to the likeness of such a noodle) brought it upon herself to interpretive dance in front of the stage. Throughout. The entire. Show….. I guess she had every right to do so as this song is pretty groovy, and I too was (potentially) feeling such vibe, but figured she was enough for all of those who were in attendance to experience. I could also benefit from saving myself the embarrassment of showcasing my equally freakish movements. In any case, Bird came ready to PTH (......play…..the…..HITS!!!…..no? k fine), and play those hits he sure did. He immediately moved to the decade old song “A Nervous Tic Motion of the Head to the Left” from 2005’s “The Mysterious Production of Eggs”, which features previously mentioned whistling (which is very much the case with many of his songs, yet widely iconic in this song).

From this, Bird stayed on the topic of visiting past songs such a “Tenuousness” (a song which lyrics are beyond all comprehension. I wasn’t lying when I said this dude was intelligent) and “Lusitania”. Following this, he then returned to the title track of AYS in (what other than) “Are You Serious”. While this song is on the softer side, it represents much of what makes his music so unmistakably himself. It includes all of his preceding musical characteristics; embroidered and flowery diction (which he knowingly instructs the listener to “get out your dictionaries”, in a very modest way, as pretentious as this does sound), plucked and strummed violin, and innocently clever storytelling. One of my favorite things about Bird is that while much of his lyrics are conversational, he often transposes them in the form of an actual conversation when performing live. I’ve seen quite a few artists follow this type of execution in their performances, yet none make it seem as nonchalant and natural as Bird does. He has a way of presenting it so purely that you feel as if he is conversing directly to you. It’s a truly wonderful addition to his already witty, virtuoso performance. Speaking of virtuosity, the band then played “Truth Lies Low”, which just might be my favorite off the new album (which is his best since 2007’s “Armchair Apocrypha”, in my very insignificant opinion). The longest and most intricate song (again, my opinion with all insignificance included) from AYS, “Truth Lies Low” acts as home to the most improvisation on the album and in this performance. When I think of Andrew Bird, I think of songs such as this. They’re so unapologetically him, and I mean that in a way that as all bands create their own sounds and personalities that make them “themselves”, Bird showcases his fearlessness to embrace himself in this song. Featuring two sections of improvised solos (including those by his band members as well) Birds immaculate abilities were put on display unlike I had previously experienced. Echoing into every nook and cranny of the theater, Bird’s luscious swells and sweeps swayed the crowd into delight. As I have made very clear through my oversupply of worthless words on this blog, I am a sucker for improvisation, and this display sure was one of the many highlights of the night for me (and others as well, I assume).

Following this, the lovely Fiona Apple made a guest appearance (as she does on the album) for the performance of “Left Hand Kisses”. Switching between violin and guitar, Bird’s (Dr. Stringz) inviting melodies paired with Apple’s vibrato showcased chemistry between the two as good as any duo in music. It was pure folk bliss. Bird followed this with again revisiting favorites such as “Plasticities”. Coming from “Armchair Apocrypha”, an album literally filled with hits, I felt both delight and dismay, as I knew that this would likely be the only feature of the album for the night. Nevertheless, I swooped in this offering with all nostalgia attached. Maybe his strongest (and most famous) demonstration of his pizzicato abilities, Bird pushed the tempo on this track, boasting (and rightfully so) his talents.

Shifting to his “Hands of Glory” acoustic project of past which features violin, stand-up bass, and (in this instance) mandolin, the band performed “Pulaski at Night”. Utilizing only one (50’s style) microphone, the trio sounded as gritty and stripped back as ever (that’s supposed to be a good thing...I’ve never been good at compliments). It would seem at this point that the night was starting to wane, and I could feel discontent of the nights imminent end beginning to build. This was quickly put to rest as, to my endless appreciation, Bird played my favorite offering of his. Discussing the potential set-list with my friend and colleague who I was fortunate to attend this concert with, I briefly mentioned that regardless the set-list, this show was destined to deliver. However if I could have one song featured, it would make the night more than glorious for myself. And to my endless appreciation (repetitive), Bird finished his initial set with “Armchairs”, fooling my previous hunch of him only visiting “Armchair Apocrypha” once. There are times where I find myself waiting, hoping, without any expectation, for moments like these. They are imaginary occasions in which my existence cannot fathom the effect it would have on me if it were to come to fruition. Yet, in those seven minuscule minutes, a lifetime of waiting for such a moment would be worthwhile (*yarf*). By far my favorite offering of his, and potentially one of my favorite songs in history, Bird’s display of this song elevated my spirits to heights that were previously seemingly unobtainable (*YARF*). As charismatic as ever, Bird played to the crowd with emotion that was completely and entirely himself.

Thoroughly elated from the act that was exhibited to us, Bird granted us further delight through the means of an encore that included more Fiona and covers of Bob Dylan and Neil Young. Bird then ended with the somewhat somber but otherwise lighthearted “The New Saint Jude”. A song likely referencing his wife’s diagnosis, battle, and eventual defeat of cancer, Bird brings light to the virtues of looking on the bright side of things. As this was the unfortunate end of such a splendid night, it left me to see things through a positive light as well: While all good things must come to an end (why), at least I got see one of my favorite musicians play one of my favorite songs. Unfortunately for you, you have just wasted 5-10 minutes of your precious, escaping lifetime reading this pointless review. But hey, look on the bright side; at least it’s finally (and thankfully) over....for now.

Setlist:

1. Journey to Satchidananda

2. Capsized

3. A Nervous Tic Motion of the Head to the Left

4. Tenuousness

5. Lusitania

6. Are You Serious

7. Truth Lies Low

8. Puma

9. Left Hand Kisses (ft. Fiona Apple)

10. Roma Fade

11. Three White Horses