Joan Osborne came back to Pittsburgh after a long absence and hopefully she will return soon to do the songs she didn’t have time to get to in her 16-song, 1-hour and 20-minute set.
The 46-year old singer, by my count, did at least five songs from her latest CD “Little Wild One” which was released in September. The song that seemed to get the loudest applause was “Hallelujah in the City”. She did a nice duet with her opening act, Matt Morris, on “Cathedrals”. Joan’s 7th studio album has a lot of the mid-tempo type songs that she’s known for.
With Joan was a 4-piece band consisting of a drummer, bassist, guitarist and keyboardist (who, like Joan, also played harmonica). There was also lighting that made effective use of the high ceilings in the former church.
Most of Joan’s songs had a beat, although she slowed things down at one point with a Grateful Dead song Joan, of course, did “One of Us” near the end of her set and I can still hear it in my head.
Joan came back on stage for a 3-song encore, which included a song she sang at the Grand Ole Opry that was co-written by Roy Orbison.
Matt Morris, the son of country music’s Gary Morris, is a singer-songwriter who has had his songs recorded by Reba McEntire, Christina Aguilera and Justin Timberlake. He opened the show with a 45-minute, 9-song set that included his own songs as well as a cover of The Beatles “Help!”. It was Matt’s first appearance in Pittsburgh and he commented that he liked the “public radio listening audience.” Matt performed at the Bonnaroo Music and Arts Festival this year and plans to release his first full length CD soon.
Barb S. - Sunday Mix Host
1) What Made Milwaukee Famous / What Doesn’t Kill Us / Barsuk
Hook-laden and sometimes challenging, the sophomore release from the Austin band mixes New Wave and classic pop influences. It gets better upon repeated listening.
2) Paul Weller / 22 Dreams / Yep Roc
Weller’s most diverse solo album to date. A mix of songs and styles that most artists—and labels—wouldn’t dare to release.
3) Sharon Jones & The Dap Kings / 100 Days, 100 Nights / Dap Tone
A great ’70s style soul singer with one of the tightest backing bands around—an unforgettable mix
4) Richard Hawley / Lady’s Bridge / Mute
The Sheffield crooner is back with another can’t-miss collection of velvety ballads
5) Joe Jackson / Rain / Rykodisc
His voice has never sounded better and his trio is sparse but powerful
6) The Last Shadow Puppets / Age of the Understatement / Domino
When the Arctic Monkeys’ Alex Turner and The Rascals’ Miles Kane collaborate everything is cool—down to the CD jacket. Hopefully it will lead people to discover earlier arbiters of cool David Axelrod and Scott Walker whose vibes flow through the disc.
7) Matthew Sweet / Sunshine Lies / Shout Factory
It’s not quite Girlfriend, but it’s pretty damn close
8) Portishead / Third / Mercury
A great return that moves beyond the whole trip-hop trap.
9) Mgmt / Oracular Spectacular / Sony
Psychedelic indie pop that out Flaming Lips the Flaming Lips
10) Jim Noir / Jim Noir / Barsuk
Second album from worshipper of Brian Wilson. More electronic and experimental but just as melodic as his first.
10) Oasis / Dig Out Your Soul / Reprise
Oasis likes The Beatles. Who knew? The influence is there but with a new spin. And there’s even a sitar!
Also deserving attention: Billy Bragg / Mr. Love And Justice; Fleet Foxes / Fleet Foxes; Vampire Weekend / Vampire Weekend; David Ford / Songs For The Road; R.E.M / Accelerate; James / Hey Me; Duffy / Rockferry; Jeremy / Pop Explosion; Band of Horses / Cease to Exist; Glen Campbell / Meet Glen Campbell; Crosby Tyler / 10 Songs of America Today; Old 97s / Blame it On Gravity; Michael Carpenter & The Cuban Heels / EP
Best reissue: The Jesus And Mary Chain / The Power of Negative Thinking: B-Sides and Rarities
Best tribute CD: Beautiful Escape: The Songs of the Posies
Best series: BBC live recordings
A full harvest moon, a full club (with electricity!) and two talented singer-songwriters.
Shawn Mullins made his second appearance in Pittsburgh this year, opening for Dar Williams. Shawn came on stage at 8 pm in blue jeans, white shirt with a tie, sport coat and hat. Still out in support of “honeydew”, which was released in March, he sang a few songs from that CD, including the tragic true tale of “The Ballad of Kathryn Johnston” and the song that was heard in the TV show “Scrubs” “All in My Head”, adding his thanks to WYEP for the airplay. Shawn remembered Rosebud across the river and said “Beautiful Wreck” was inspired by playing in such venues. He reminded us that he was briefly in a group called The Thorns, with Pete Droge and Matthew Sweet (who he noted will be coming to Pittsburgh soon). When Shawn talked about The Thorns CD, I clapped in recognition, not realizing I was the only one who was acknowledging the CD. Shawn looked in my direction and said that his parents bought a copy of the CD and now he knows who bought the other copy. Here's my copy of The Thorns CD, which I got signed by Shawn years ago (and it reminds me I should get Pete and Matthew’s signatures someday too).
While Shawn was in high school, he took one of those career education courses. One day Amy Ray (now of the Indigo Girls) performed for the class, and this apparently helped to inspire Shawn. Amy even wrote Shawn a 10-page letter to encourage him. I love it when singer-songwriters tell stories about their songs, even ones they did not write. Normally I’m not a fan of “covers”, but Shawn’s version of “House of the Rising Sun” (written by a female and sung from that prospective) is a natural fit. Shawn wrapped up his 65-minute acoustic set with his Australian hit “Shimmer” and a medley :) of his hit “Lullaby”.
Shawn Mullins and Dar Williams have been friends for years, so it’s only natural that they are now touring together.
Dar Williams came with her guitar, a percussionist, and a keyboardist to tell us that Pittsburgh is one of her favorite cities. In fact if she had six houses, one would be in Pittsburgh. Dar is an engaging performer who seemed genuinely enthusiastic about her music. Almost bubbling over. Dar mentioned a couple of times she was disappointed that she could not play at WYEP that afternoon (due to the power outage) and that she sent an email to her management company to book another show in Pittsburgh along with a visit to WYEP (she mentioned maybe in January). Dar only played a couple of tracks from her new CD “Promised Land”, including the first release the catchy “It’s Alright”. Requests were shouted from the audience, and Dar obliged her fans a couple of times. Her back-up group gave the songs an even fuller sound from the small stage. Dar’s blend of “folk-pop” was mostly up-tempo during her 95-minute set, except when she sent her band off-stage so she could sing a couple of songs without accompaniment. She also returned to the stage alone to do one song for the encore.
A full moon shined down on the South Side, as we were treated to over 2-1/2 hours of music by 2 amazing singer-songwriters.
Barb S. - Sunday Mix Host
(Clockwise from top: Jeremy, Molly, Dustin, Ken)Their new album, Ice Cream Spiritual, sees the band adding to its high-energy approach with new sounds and multiple-movement song structures. The four members passed the phone as I spoke to them while they travelled to New York for a concert. An excerpt of that discussion after the jump. -Dave, host of WYEP Afterhours: Monday WYEP: You all met at the Maryland Institute - was music at all part of your education or was it a hobby in addition to what you were studying? Dustin (guitar): Well the class we took together - we knew that it was going to be a band thing - we were going to get formed into a band. But we didn't know who was going to be in which band. Of course, we love music. We all listen to music and we're all big fans of music. WYEP: So Ponytail actually came out of a class you signed up for? Dustin: Yeah. WYEP: Wow. What was the syllabus like? Dustin: The syllabus? I can't really remember it from the top of my head, but it was you form a band and you work on one art project. That's pretty much what the whole class was. Every week the professor would show a film. He showed Gimme Shelter, The Piano Teacher. [Asking the others] What were some of the...what were some of the - Unidentified Ponytail Member: -Nashville Dustin: -Nashville was another one. Just like stuff that really kind of...you get a vibe of what music is about. WYEP: That sounds like a really interesting experience. Dustin: Yeah it was really great. WYEP: How many kids were in the class? Dustin: There were probably thirty-five kids. WYEP: Were you randomly assigned or did you play pieces and audition and then the professor put you together? Dustin: Oh no no, there was no audition. It was just the professor pointing at each...he'd be like 'You're a hot girl, and you're a hot girl...' WYEP: [Laughs] Dustin: 'You're a band!' WYEP: It was a first day, just pairing people up and sending them on their way? Dustin: Well the first week he didn't form the bands, he Just kind of explained what the class was about and he let us out early. And then the second week - it's really funny actually - we were all sitting in a circle. It was a large classroom and each student was kind of in the circle and the professor was direct in the middle, [turning] 360s and observing the students. And then he would pick people out. WYEP: So I guess it was in part based on your social interaction and what he saw happening. Dustin: Yeah. He would kind of feel out each person's vibe and then put them together. WYEP: That's a really cool idea. Dustin: I think it's just fun to be in his spot, you know? I'd love to do that. WYEP: Did you start playing shows right out of that class or was it a long time before you got to that point? Dustin: No no, we practiced once a week until the end of the semester which was where all the bands would come together. We had a big party - it was called Parapalooza - and all the bands would play the songs they'd written in the course of the semester. It's just a good time, and we were just practicing up to that point and it was really fun. We wanted to continue. WYEP: What was the initial reaction for Ponytail in Baltimore? Was it intimidating coming through [art crew/performance space] Wham City? Dustin: I was really nervous when we played our first shows, but there wasn't any sort of pressure, I don't think. Everybody was really supportive and we love being supported. WYEP: Were there certain bands that were really helpful as far as when you were starting out and playing your first shows? Dustin: Yeah, yeah. Double Dagger, whose a band from Baltimore invited us to play a show. Dan Deacon has been super helpful. It's great. --- WYEP: How was it starting out in Baltimore? Molly (vocals): Everybody is extremely supportive of each other and really wanted something to happen. And it did. WYEP: How has your family reacted to Ponytail so far? Molly: My family's really into it actually. My family is so so supportive. My sister actually is super into it. She made me a scrap book of all our early reviews. WYEP: That's awesome. Molly: It's really sweet. Even my grandparents came to our show in Phoenix. My grandpa's ninety now. WYEP: Wow... Molly: Yeah! [laughs] WYEP: That's effort. Molly: Yeah - it's pretty amazing. So I'm really lucky. WYEP: Your vocals are not usually word sounds, and you have song titles that are sometimes made up of punctuation. Do you think there's a benefit to be a little harder to understand? Molly: I think we're interested in that - in not being able to fully understand. I don't know if we fully understand, really. [laughs] WYEP: Do your songs change much show to show because of that? Molly: The feeling of doing it, from show to show, changes a lot. The songs themselves have been pretty stagnant, staying the same. But of course they change slightly - I guess I improv some every time. WYEP: Do you consider your music rebellious compared to what else is out there and what you grew up listening to? Molly; There's an element of rebellion, I think. We're reacting to what we're surrounded by and what we grew up with. We're all a little rebellious. Also, at this point, we just really want to make something we're interested in more than just something different. It's not all rebellion, but it is an element. WYEP: How aware of you of Pop culture? Is what's happening in the rest of the world ever a direct source of inspiration for song writing? Molly: Definitely. I think we've been referencing elements of Pop culture since we began. With the Beatles drum line at the beginning of the song - [asking others] which song is it again? It's - Unidentified Ponytail Member: - "Dear God" [Ponytail song "Dear God Plz Make My 2Eyes N2 One"] Molly: "Dear God." Beginning of...no no no, beginning of which Beatles song? Unidentified Ponytail Member: Oh, oh. "The End." [The Abbey Road song] Molly: Yeah! "The End." The beginning of "The End." That was the beginning of the end! [laughs] I think we're definitely interested in referencing Pop culture. We've always been aware of what we might sound like or what we might be taking from and we're sort of excited about that. You can only go so far with it, but we're excited about that. --- WYEP: Ken, you were recently part of a Stereogum feature called Quit Your Day Job. You talked about how you're currently a security guard at the Maryland Institute. Have there been moments where you had to commit to the band, where you realized 'This is definitely what I want to do, I'm going to turn down this other job' or 'I'm going to turn down this grad school opportunity'? Ken (guitar): This week I worked my last shift, I think, as a security guard for that job because we're going to be away for so long. WYEP: Congratulations! Ken: Oh thanks. It's the easiest Job. Ever. It was great for - it was easy to pick up shifts and stuff but it just didn't pay very well. It was good to have that kind of Job, but I don't know if I want to do it during the school year. As far as turning down opportunities, I think you fantasize about stuff - going places and doing things. But the reality of the situation is that we've gotten so many opportunities by doing the band that it's been more like seizing opportunities than missing out on opportunities. Getting to travel and meet lots of people and play great shows - just being humbled by opportunities like recording. People listening to our records is an awesome opportunity in itself. WYEP: You guys definitely do play great shows. It's a really interactive show - I don't think I've seen too many shows where the audience moves as much, if not more, than the band. Are there things that you guys try to create live that make that kind of connection? Ken: The air around a show is always different, and it's unpredictable, but there's always an opportunity for it to get really fun. When it's fun, we feel like we're channeling something, to be honest. I don't know how that sounds, but when I'm playing I just close my eyes and stick my tongue out and play. [laughs] It seems like in some places, kids have definitely been bringing the mosh and kicking up some dust. It's cool. I feel like it comes with the territory of what we play and we're excited so it's a compliment when the audience is excited to. WYEP: It's really rare to have songs that are as high energy and as complex as your songs are, so I don't know if people even know how to react to that. Ken: [laughs] Thanks! We stayed at a house last night. Our friend, his dad [owner of the house], is an audiophile and has a really good sound system. We were like 'Let's listen to one of our songs on it' and we listened to it and afterwards I was like 'That was intense!' So I know how you feel. WYEP: When you recorded Ice Cream Spiritual, was there a lot of overdubbing or was it mostly live, all four in a room? Ken: Mostly live. There were overdubs; they were mainly to add flavors in with panning. There's a few things we probably could have done live, but we wanted to make some spaces and panning and stuff. I don't know if I want to say almost all of it, but every song was recorded live and there were overdubs added on. We met with J. [Robbins, producer] before we recorded and talked a lot, setting up the room in a way that we could really do it live. I think it sounds pretty live. WYEP: It definitely does. Speaking of J., how were you approached to do the Callum benefit? Ken: We got an email about it recently. It was unanimous that we wanted to do it. We love J. and working with him was incredible. It was the least we could do. WYEP: It's been really cool to see people react in such a direct way. Even people who aren't associated with the concerts, who aren't playing on the bills are still linking to the website and still saying 'This is really important, this kid deserves a chance and if you can do anything, try to help out.' Ken: After meeting J...he's Just one of the humblest and hardest working people I've ever met. I think just the person that he is - we all owe J. Robbins. If you ever met him, he's a great guy. --- WYEP: What do you think makes a live show good? When do you know it's been a good concert? Jeremy (drums): I love it when the crowd is having a really good time - it definitely reflects and bounces back to us. But usually, we can kind of create our own space on stage, or if we're on the floor, on the floor. If the connection is good between us, it's usually a good show for me. WYEP: Between the four of you? Jeremy: Yeah, between the four of us. I always feel really good, even if there's three people a show and they don't like us - which luckily hasn't happened - if we all feel good about the way we played. WYEP: When do you know when a song is done, as far as song writing goes? Jeremy: Usually what happens is it takes a while just in practice to flesh out all the ideas and get a basic structure together. And then, once it feels pretty good, we'll kind of play it, try it out live. That's usually a really good indicator if it's working. Actually last night, we tried out something during sound-check that Just felt wayyy off, but felt really good when we were writing it. WYEP: This is probably my last question, and definitely my most important. You guys have had really great spots as far as an opening band for Hella, and Battles, and Don Caballero and High Places. Would you rather open for GWAR or Fleetwood Mac? Jeremy: GWAR or Fleetwood Mac? Oh Fleetwood Mac, for sure! WYEP: What do the other three think? Jeremy: [Poses the question to the other three] Fleetwood Mac. Unanimous. WYEP: Completely unanimous? Jeremy: Yeah. We're huge Fleetwood Mac fans. www.myspace.com/jreamteam
As the sun was setting over Burgettstown, John Mayer and his seven-piece band (including sax and trumpet) entered the dark pavilion stage to perform a two-hour show.
The fans at the John Mayer concerts seem to be getting younger. Or, maybe, I’m just getting older. The young ladies in the crowd were screaming loudly how much they loved John - I’m sure I will regain my hearing soon. We have family in town from CT, and my 17-year-old nephew (who will be seeing John in his home state of CT) seemed impressed that I not only knew who John Mayer was, but that I was attending my 3rd John Mayer concert. Maybe old Aunt Barb is more hip than he originally thought.
The fans seemed to know every word of every song that John sang. I just hope they are getting the message too. John’s lyrics are quite sophisticated for someone who will be turning 31 in October. In the 2 years since I’ve last seen John live, he has matured as a performer, but there’s still some polishing left to do. The pregnant pauses in between songs could be a bit shorter. Yes I realize they’re changing guitars and setting up for the next song, but it breaks up the “Continuum” of the show. In 2007, John was named one of the “New Guitar Gods” and nicknamed “Slowhand, Jr.”, and he showed why he deserved that honor during his 16-song set. Nice additions to the band were sax and trumpet players. The lighting on stage was also very effective.
One of the songs I was hoping to hear was “Free Fallin”, which John sang and gave credit to Mr. Tom Petty (do the young fans even know who Tom Petty is?). I was also thrilled to hear the new release “Say”, which really comes to life live. Another highlight was “Stitched Up”. It was a very nice touch for John to sign someone's program before leaving the stage, prior to the encore.
During the show, John did not talk to the audience much, but he made up for it during the encore. The Grammy Award winner shared insights about the final three songs. On John’s website, the fans are invited to “pick the encore” song they would like John to sing. The top vote getter for Burgettstown was “Man On the Side” (for the record, I voted for “Stop This Train”). At first, it seemed that John didn’t remember how the song went (noting it was the 2nd song he wrote) and then proceeded to tell a story about meeting a girl in the Berklee College of Music cafeteria in Boston and how she stood him up.
Check out the set list here. http://www.johnmayer.com/tour/show/454
Perfect August weather, made it an even more perfect night for the music of John Mayer live.
Barb S. - Sunday Mix Host