Dr. Harter’s Recital

On Thursday October 23rd, 2008 I joined countless others in Tuthill Auditorium of Hassell Hall to hear Dr. Harter’s oboe recital: Music and Letters from the Nineteenth Century. Most of the music faculty perform annually and I was excited to see how Dr. Harter’s would compare to last year (in which she performed selections by Prokofiev—a composer near and dear to her!). This year’s concert was a complete departure from last year’s—but just as delightful! Her program featured the music works and letters of Robert and Clara Schumann, Johannes Brahms and Heinrich von herzogenberg. I was particularly excited about this music and these letters because they came straight out of the German romantic era—a movement that swept the arts and permeated society itself in Germany during the 1800s. They took their romantic notions very seriously! As such, the music and letters explore many emotions, bringing one to tears with or joyous laughter. They did this by means of particular intervals in the music that create tension or a particular term of endearment in a letter.

The letters gave critical insight into the thought-processes of the composers and how they made their living, as well the effect of their music on themselves and their audience. These letters also provided intimate glimpses of how these people interacted and how their music reflects not only their ideas and notions, but the ideas and notions of society. Dr. Harter drew an apt and interesting parallel between the art of writing a letter and the art of music itself. In her own words: “all of the little things make a letter personal and unique: salutations, endearments, inquiries about health and happiness…after you drop your work into the mailbox, there is a physical sensation of accomplishment, followed by that anticipation that you might get a reply from someone else in the world that also practices this lovely art”. Just as the minutiae of a letter make it unique and whole, so too in music do the smaller things, like motives, cadences and key changes, distinguish the piece from others as well as making it a completed work. The sense of accomplishment in finishing a letter or completing a musical compositions are similar—one must wait to see how his/her masterful creation is received and hope that somebody else in the world understands the underlying message of their creation.

I hope to see even more people at her recital next year! It’s an event not to be missed!

Interview: Questions by Laura McLain. Conducted by Laura McLain and Brigid Hannon.

1)How long have you been playing the oboe and why did you choose to focus on the oboe over other instruments?
I started in 3rd grade – it was one of those “meet the band instrument” days in music class. Everyone I knew played the flute or clarinet, and the oboe sounded kind of neat. I tried it out on that day and actually got a sound, and had some lung capacity, so they pushed for me to try it. When I went home that night and told my parents I wanted to play the oboe, they had to open up the encyclopedia to find out what it was.
Knowing what I know now, I would probably pick the cello or French horn – great instruments, great expressive qualities, great ranges, and no reeds!

2)How do you feel about your recital?
It was fine. (Nothing’s ever perfect…)

3)If you had to choose only three composers to listen to for the rest of your life, who would they be?
I think you helped me pick these: Antonín Dvořák (Czech, 1841-1904), Francis Poulenc (French, 1899-1963), Astor Piazzola (Argentine, 1921-1992) – all three have great variety in their writings, a lot of folk influences, lots of different genres.

4)Best musical event you have ever attended or participated in?
The best $10 I ever made: I joined the “Jazz Chamber Music” course during my senior year of undergrad. Of course, my friends told me that I was in the wrong room that first day. I told them I was taking sand paper to my “square” (or “classical”) corners. The director taught me a lot about reading chord changes and how to improvise (“no such thing as a wrong note, just wrong resolutions” was his motto), but I always impressed the jazzers with my sight reading skills. Late in the semester, a cold December night in Pittsburgh, the group went to a jazz club downtown – the performing space was in the basement, and cold and dank. But we had a blast performing everything. The instructor’s sister was a jazz vocalist, so she came and sat in while the group of us made up little riffs to back her up. It was a great evening – and we each made $10! (I think I spent mine all on hot chocolate that night!)

5)What advice would you give to music students who do not know which career path to follow?
The best advice, make sure to enjoy what you’re doing, no matter what. It’s great to be personally invested in all of your work, but find time to be yourself on your own time too. Balance is important, and I’m still working on that myself.

6)How did you end up at Rhodes?
A little luck. I feel like I was in the right place at the right time. I had finished my comprehensive exams at the University of Connecticut and was teaching at the Oberlin Conservatory when I had the interview here at Rhodes. I had two one-year contracts when I was teaching mostly music courses for the general liberal arts student including a course entitled “Paris at the Turn of the Twentieth Century.” I then went to Georgia State University for a year while I finished defending my dissertation. I came back to Rhodes on a one-year contract and then won the tenure track job. I feel very fortunate to be in a place where I can continue to learn too – and also to model the ideals I feel are important – a musician, an educator, and a scholar.


7)How do you spend your free time? Favorite Memphis activity?
Free time?! What’s that?! Grading…practicing…sleeping…
Really, I schedule time to play badminton a few times a week – I’ve been playing since high school and there are few places in town to play, including the navy base in Millington. I love to go hear live music on Beale Street, and now that the new smoking laws are in effect, the weeknights are pretty breathable!

8) Do you watch tv? what shows? What is the last movie you saw in theaters?
I watch way too much television and I don’t even have cable! Numbers – because it’s about a college professor who works with the FBI, and I have a thing for numbers. NCIS – I have a few navy connections anyway, and Mark Harmon is good eye candy! Then I have my collections of tv on DVD: Frasier, M*A*S*H, Chuck, Star Trek Next Generation, Home Improvement, etc.
The last movie – well, does the Metropolitan (NY) Opera productions in the movie theatres count?! (http://www.metoperafamily.org/metopera/broadcast/hd_events_next.aspx)

I saw the last James Bond movie, and I’m looking forward to this upcoming one.

9) Is there a person or event that has shaped your life significantly?
This took a while to think about, but I don’t know why. One of my oboe teachers in undergrad (I had three…) made a huge impact on how I do things here at Rhodes. He also coached my wind quintet and a number of other performing classes. Once, the quintet had been booked for a lunchtime concert at the PPG building downtown Pittsburgh where business people were to bring a brown bag lunch. My teacher showed up with his own brown bag lunch “to make sure there was someone in the audience.” He was our cheerleader (who also then critiqued our performances at the next coaching time…) but he was always there to make sure we had an audience. I try to do that here – I always try to make events that I have students involved with, including sporting events. It’s nice to have a friendly face in the audience.


- Brigid Hannon, Laura McLain

Review of Professor Bryant’s Recital: An Evening in Old Vienna

On Monday November 10th, 2008, as I entered Tuthill Auditorium in Hassell Hall, I came in expecting a great piano performance and some interesting music—what I got was much, much more. After Professor Bryant’s opening remarks about the content of the program, I knew I was in for a treat! He organized a concert of purely Schubert music, and not only for piano, either. The program featured a couple of piano solos, a collection of art songs for voice (Sandra Franks) and piano, and a piano trio with cello (Iren Zombor) and violin (Wen-Yih Yu). Professor Bryant transitioned from his solo pieces to the arts songs and from art songs to the trio by sharing tidbits about Schubert’s personal life, musical style and also his own personal experiences in Vienna with some of the music on the program. This touch made the performance very personal and educational. I especially enjoyed how special the piano trio was to Professor Bryant. He was asked to sight read it when he was in Vienna! His deep connection not only with this piece, but several others on the program made the aural experience simply phenomenal! I particularly enjoyed the Schubert art songs, both for their inherent lyricism and the distinctive motives in the piano accompaniment. Each piece had a specific motive and key that fit in exactly with the subject matter of the song—this was especially noticeable in Auf Dem Wasser Zu Singen (“To be sung on the water”) because the arpeggiated chords in the accompaniment sounded like rippling water. I highly encourage all students to attend faculty music concerts; they’re a great way to hear beautiful music and learn something, too!

Interview with Professor Bryant about his recital on Monday Nov 10th, 2008: Questions by Brigid Hannon. Conducted by Brigid Hannon.

1) How do you feel about your performance on Monday Nov 10th?

“I was really ecstatic about it! I was thrilled with the audience’s reaction, especially at the end of the recital, at the end of the trio—how well it was received. I just feel really good about it! Actually, when I think about other recitals some I haven’t felt as good about as I did this particular one.”

2) How did you go about preparing for this concert?

“One of the solo pieces, the impromptu, I’ve known forever…since 1981 when I was in Vienna! The very first piece, Moments Musicaux was brand new to me. I’ve taught it to students but this is the first time I’ve learned it and performed it. I learned it about a month before the fall semester began. The soprano and I decided which songs to perform, 4 of the 5 I already knew.”

3) Favorite Piece?

“I believe my absolute favorite of the whole thing was my second solo piece and that’s the impromptu in G-flat Major. That was one piece I learned over in Vienna, 27 years ago, so its been a part of me that long! The trio is my absolute favorite piece of chamber music for the reasons that I explained during that recital about the personal meaning it had to me.”

4) Practicing techniques or memorization tips?

“It depends on the style and the actual piece of music it is. I always catch my self with every lesson where someone’s memorizing something, saying ‘One time with the music one time without the music. Even if you have to break it down phrase by phrase.’ Drilling it over and over with the music so that you get that visual reinforcement and then trying it by memory.”

5) How did you get interested in Piano?

“I was reared in a small town, a small town in North Georgia and we were a family of five. There were three of us boys, I was the youngest of the three. To be completely honest with you, Brigid, each of us took piano and started either when we were in kindergarten or first grade. A lot of it was a competitive thing. It did work out that my older brothers one by one dropped off around fifth or sixth grade. By that time I was with a teacher and she realized that I had some stuff. That I had some extra gifts and that of the three guys I was a natural at it.

6) Favorite composers to play music of?

“What I did the other night is certainly a favorite. Most of that is because of my year in Vienna and the experiences I had there. So Schubert is one of the first ones that comes to mind. Also Rachmaninoff and late Beethoven. He [Beethoven] spent the later period of his life in Vienna and I got to walk on some of the streets where he walked and visit parks where he did some of his composing.

7) What is the most exciting or memorable experience in your life?

“Well if I think of everything in my life I think it would just hands down have to be the birth of my children. That moment when the child is born is just one of the few times where my jaw just has dropped and I found myself speechless. That’s just something that can’t be put into words just how wonderful that was. When I got to hug my son for the first time was one of life’s greatest moments. I can still remember that electric moment when I could first hug him.

8) What do you do in your free time?

Most of it is spent playing with my son—that’s anything from soccer to baseball, a little bit of football. But his favorites are soccer, baseball, jump rope and anything having to do with High School Musical. He’s the only one at home now that my daughters are both in college, that way the spare time is spent mostly with him.

- Brigid Hannon

Chamber Music Concert

On Thursday November 13^th, 2008 I braved the blustery winds and made my way over to Hassell Hall to attend the Rhodes Chamber Music Concert. All of the performers were current Rhodes students and I was impressed with the wide array of instruments and diverse repertoire. Each ensemble was comprised of a different group of instruments, and the ensembles ranged from a string trio performing selections by Antonin Dvorak, to a guitar ensemble imitating the sounds of rain in Leo Brouwer’s Cuban Landscape with Rain, to a quintet including bassoon, oboe, French horn, clarinet and piano playing Beethoven—and everything in between! I love watching how expressive the instrumentalists are while playing the music. Violinists are particularly fascinating to watch because of their arm movements, and the way they tend to lean into phrases and relish sustained notes. There were a number of talented violinists at the chamber music concert that evening, all of whom engaged with the music in different ways. Another instrument and instrumentalist I enjoy hearing and watching is the flute. The only noise I can coax out of a flute is a shrill high note, so hearing beautiful legato phrases and high notes that don’t induce head-aches is a real treat! My favorite piece of the program (aside from the Geographical Fugue) was “upbeat” from Springsongs, by Gary Schocker. Nicole Baker played flute and Tyler Turner accompanied on piano. The duet was riveting and beautiful. It required quite a deal of breath support and control as there were several runs up to the higher notes in the flute’s register—but Nicole managed it with lovely musicality and grace. In fact, it sounded like something out of a movie soundtrack from a 1960s or 70s classic!

Of course, no chamber music concert is quite complete without the rhythmically demanding, spoken word piece called “Geographical Fugue” by Ernst Toch. The entire Music Theory 206 class clambered on stage to show off their skills! I walked out of the theater that night thinking about “Trinidad! And the big Mississippi…”.

I think more students should attend chamber music concerts. It’s a great way to hear new music and support your friends! It was so fun to cheer on my friends and it’s always a comfort to the performer to see a familiar, smiling face in the audience! The next Rhodes student performance is the Wind Ensemble performance on Thursday December 4^th at 7:30 in the BCLC ballroom. I hope to see you there!!

- Brigid Hannon

La Traviata: Mysterious, Unknowable

On Saturday October 25^th, 2008, I attended Opera Memphis’ performance of Verdi’s classic, La Traviata at the Orpheum Theater in downtown Memphis. I was particularly excited about the performance because while it was my third time seeing this operatic masterpiece, it was my first time hearing it sung in Italian. Back home in St. Louis operas are done in English so it was a real treat to hear the lovely, lilting phrases and melodious arias in their mother tongue. In terms of casting, Opera Memphis brought in Kallen Esperian, no doubt to boost ticket sales because of her famous name due to her notable talen in her hay day. I have to say, I prefer Pamela Armstrong’s rendition of Violeta (as seen in both the 2001 and 2007 versions of La Traviata, produced by Opera Theatre of St. Louis) because her singing was more powerful and evocative. While Kallen did an ok job, I was less-than impressed. She barely grazed some of the higher notes and her voice was not the big, booming operatic voice—filled with passion and angst—that one would expect from an opera star playing Verdi’s Violeta: especially during her duet with Alfredo in which they sing about the mysterious unknowable qualities of love. I was very impressed, however, with Kirsten Piper-Brown’s performance as Violeta’s maid, Annina. Her voice was rich and much more of an aural presence than Kallen’s. It commanded my attention and though she sang little, it was enough to leave a lasting impression. So, La Traviata was not the best I’ve seen from Opera Memphis, but I’m not going to let that discourage me from seeing other shows—and you shouldn’t either! The next operas on deck for the 2008-2009 season are Scott Joplin’s Treemonisha and Gounod’s Faust.

- Brigid Hannon

The Academy of St. Martin in the Fields: An Un-regrettable Experience

So who exactly is St. Martin and why is he in a field? This is what I found myself wondering on Tuesday evening, October 28^th 2008, while sitting in one of the back pews of Immaculate Conception Cathedral in Midtown Memphis. On that particular evening I was fortunate enough to attend a performance by The Academy of St. Martin in the Fields Chamber Ensemble, touring the states through Concerts International. I say fortunate both because I only had to pay $5 to see this show, which started at $50 per ticket (ah, the perks of being a student) and because this group of prodigiously talented musicians was traveling through Memphis on their 2008-2009 US tour. As expected with such a well-known name, the church was full. It was a predominantly older crowd, with a sprinkling of students. The program consisted of a string sextet by Brahms, Prelude and Scherzo by Shostakovich and a string octet by Mendelssohn. This small group of eight string players dazzled young and old audience members alike. Their skill was advanced, their technique was impeccable and their tonality (thanks both to the instrumentalists and the wonderful acoustics of the cavernous venue) was expressive, arresting—even celestial (pun intended, the performance being in a church and all). The group is based in London and the players come from all over the UK and one from Bombay, India. Needless to say, if you ever find yourself in the same city as these musicians, attend one of their concerts! You will not regret it. It’s an un-regrettable, highly enjoyable experience! For more information on this chamber group visit the following website: http://www.asmf.org/

- Brigid Hannon

Avenue Q

On Saturday October 4^th, 2008 after a satisfying BBQ dinner at Rendesvous, my friends and I made our way down Main St. to the Orpheum, where the bawdy puppet musical, “Avenue Q” was playing. So what’s so great about a musical with puppets, you may ask. Well, I asked myself this very same question and because of my skepticism put off seeing this production for several years (I’ve had the soundtrack in my “favorites” playlist on Itunes for years). I wondered, why bother seeing puppets perform? I can envision the action just by hearing the songs. Well, as it turned out, I was not completely right. “Avenue Q” is more than what the catchy, politically incorrect songs lead on. For starters, it won the 2004 Tony Award for best musical, surprising most who assumed Wicked was a shoo-in for the award. Personally, I find “Avenue Q” to be a shoo-in. Who could resist puppets singing about racism, sexual preferences and schaudenfreude? In addition to the “wickedly” witty lyrics and catchy tunes, the cast, staging and set provide enjoyment and amusement. During the show, tv screens descend at pivotal moments and play funny cartoon clips which go along with the plot and make jokes involving sexual innuendo. The set doesn’t change from the apartment complex located on Avenue Q, but it’s used creatively for various events such as Christmas Eve’s wedding, Kate Monster and Princeton’s date night, and the grand opening of Kate Monster’s “Monstersorrie School”. Another bonus to seeing the show in person is that you can see the actors who manned (or “wo”manned) the puppets and I was introduced to my new favorite puppets—the bad idea bears! While the idea of the “devil on your shoulder” is cliché, these bears jazzed it up and had impeccable comedic timing.

I particularly loved that the actors sang the songs differently from the Broadway recording I have. This made the show unique and personal to this traveling cast—and as a consequence worth my money! My only complaint would be that the woman playing Gary Coleman didn’t sound enough like our favorite Diff’rent Strokes character.

Unfortunately, the traveling company left Memphis on Sunday October 5^th, but don’t miss it if it comes to your home town or you happen to be in New York (where it always seems to be playing)!! If you’re a musical junkie don’t despair because “Mamma Mia” is running from November 18^th-23^rd and “The Pajama Game” is closing out 2008, running from December 9^th-14^th. Buy your tickets now! Student tickets are available for $20!!

Multicultural Celebration at U of M

Rhodes Orchestra ToMoRrOw !!!

LITTLE COW BIG DEAL FOR BUCKMAN SEASON

"Hungary’s hottest export since goulash." Funkhaus Europa

"A crossover mixture that radiates the spirit of an alternative traveling circus, Little Cow moves between melancholy and a wild party…catchy songs . . . Top music from a top band." Sound & Image Magazine

Don't miss one of the brightest stars on the world music circuit, Hungary’s Little Cow! This raucous ensemble takes listeners on a joy ride through the carnivalesque and the lyrical, the melancholy and the whimsical with absurd humor and all things known to keep a party going. The band is celebrated for their Gypsy, Balkan, rock, pop, ska and dance music fusions. Little Cow has played all of the hottest venues from New York's reputed Joe's Pub to Globalfest to the esteemed Kennedy Center and are a featured artist on Putumayo World Records. Bring your dancing shoes for an unforgettable night at the Buckman!

WHO: Little Cow

WHEN: Sunday, October 5, 2008, 7 p.m.

TICKETS: $28 for adults, $25 for seniors and students

BOX OFFICE HOURS: Monday through Friday between 10 a.m. and 4 p.m. or 1 hour prior to a performance. Call (901) 537-1483.

WHERE: Buckman Arts Center at St. Mary’s School,
60 Perkins Extended, Memphis, TN 38117

CONTACT: For more information or to arrange an interview with the artist(s), please contact Cindi Younker at cyounker@stmarysschool.org or (901)537-1483.

IMAGES: See attached

ARTIST VIDEOS: www.youtube.com, search “little cow”

Little Cow (Kistehén Tánczenekar) was founded by László Kollár-Klemencz after the great success of his songs for the popular Hungarian cartoon, Little Yellow Cow. This funny figure, which won the audience award at the International Animation Festival in Ottawa in 2002, was brought to life by László and his creative partner, Igor Lazin. In the same year, the protagonist, Little Cow, became the main advertisement figure of Hungary‘s Sziget Festival.

The band first formed to play for the Sziget Festival, with a makeshift set-up and a limited repertoire. At the time, the band was just a hobby of the members. Nevertheless, László and his band mates managed to produce two albums, A Kis Tehén (The Little Cow) in 2002 and Csintalan (Naughty) in 2004.

Little Cow became a full time band, following the phenomenal success of their song Szájbergyerek (Cyber Boy). Although not broadcast on any commercial channels, it’s popularity spread quickly via the Internet. In Hungary, Cyber Boy was a runaway hit breaking music industry records, including most ring tone-downloads, video of the year on Hungarian VIVA Television, and Song of the Year at the Fonogram Awards. Little Cow’s fame began to spread abroad when it was selected for the British Beginner’s Guide to Eastern Europe compilation album. The band was soon bombarded with invitations to music festivals, village days, cultural celebrations and TV shows.

By 2006 they were one of the Hungary‘s most popular bands. Their next album Szerelmes Vagyok Minden Nobe (I’m in Love with Every Lady) was published by EMI in Hungary and internationally by Eastblok Music. In 2007 Csintalan became a Platinum selling album.

Today, they are touring the world. They were selected by UK’s Songlines Magazine as a featured artist for their Top of the World CD and for the Gypsy Grooves album for Putumayo World Records.

Little Cow’s music has been described as “crazy listening”, “underground pop” and “a village version of Beatles” with its Gypsy, Balkan, rock, pop, ska and dance music. The mood of their music races from serenity, absurdity and humor to mature, deep and poetic. The Buckman is pleased to introduce the Mid-south to Little Cow on Sunday, October 5 at 7 p.m. Visit www.youtube.com and search for “Little Cow” to catch one of their kitschy videos or see a rollicking live performance. Tickets are available on line at www.buckmanartscenter.com or by calling (901) 537-1483

Raconteurs Concert

My first visit to the Cannon Center downtown was as pleasant as I could have hoped. It’s usually used for ballets and symphonies, and even when I first entered the auditorium, I couldn’t help noticing that it looked exactly like an opera house. To be honest, I thought the venue was just a little too nice for the Raconteurs, who are a charming combination of power pop, fuzzed-out blues, and Americana, all taken to the next level. I wanted to see this band in a dingy bar somewhere, where the pervasive smell of cheap cigarettes, stale beer, and incredible body odor that only Memphis concertgoers seem to be able to muster, lingered in the air like good, old-fashioned industrial pollution.
Well, we did have stale beer and Memphis B.O. at least, so by the time the opening act came out, I was in my concert state of mind. The Kills took the stage with high expectations from this reviewer, and over the next 45 minutes, proceeded to ruin all of them. The Kills are a two-member band, consisting of “Hotel” Hince and “VV” Mosshart, with both playing guitar and doing vocals, although Hince plays guitar a bit more, and Mosshart sings a bit more. They’ve been compared to other minimalist electronic acts like Suicide and Gary Numan, but trust me, they are nowhere near as good.
They had a drum and bass machine on stage while they played their set, and I must say, it was a little excessive. The bass was so huge that it nearly rattled my hipster glasses right off my face. The drum machine was staid and completely free of any kind of dynamics. And worst of all, Mosshart would not stand still for more than 5 seconds. She seriously must have walked nearly a mile with all of her prancing, gallivanting, showboating, and posing. In her sad attempt to be Iggy Pop/Mick Jagger/Freddie Mercury, she forgot that her band sucks.
Madam, you are no Karen O.
After the Kills played some of their more popular songs, like “U.R.A. Fever,” “Sour Cherry,” “No Wow,” and “Fried My Little Brains,” they left the stage, and the unwashed masses started pouring into the auditorium. It was actually a much older crowd than I was expecting, and almost the entire younger, college-age crowd was up front in the standing room section. The roadies worked quickly, and before you knew it, the Raconteurs were taking the stage.
Now, maybe this is something that has always been around and I just don’t know it, but it seems like the only purpose of standing near the front of the stage nowadays is to take as many pictures on your phone/digital camera as possible. And judging from the pictures people were taking, it seemed like the only reason anyone was there last night was basically the same reason I was there: to see Jack White, the likely savior of traditional rock and roll.
This was the second time I had seen Mr. White live, and I have been listening to his music since the eighth grade. When I was in high school, he was my guitar god, and in some ways, he still is. The applause of the audience was noticeably louder when he took up his ax, and right from the start, my nose started to twitch: the tension in this band must be unreal.
The drama played out over the entire show. He played the first five minutes with his back to the audience, as if he was trying to hide himself so that his friends could share in the limelight for just a little while. He would often sit down to play his instrument, effectively disappearing from the view of many people in the audience. And his demeanor was remarkably different from that of a White Stripes show; when he is on stage with Meg, he really gets into the music, screwing up his face along with the guitar, and evincing some kind of emotion. But during the entire show, he played with pursed lips, half-open eyes, and an expression taken right off of George Harrison. He was different around this band, around his good friends. I thought it was kind of sad to see this, to see Jack White stuck in a cage.
But ladies and gentlemen, Jack White is seriously just too good to be kept under wraps like that. After a particularly blistering blues/rock solo, I actually turned to my friend and said, “It’s just not fair how much better he is than the other guys in this band.” Still, despite White’s indomitable abilities on guitar, the band motored through some fan favorites, like “Many Shades of Black,” “Old Enough,” and the title track from their new album, “Consoler of the Lonely.” Brendan Benson, the other guitarist and singer, was totally on point the entire show, especially since he had to pull some slack; Jack White came out after about the fifth song to address the troops, made chit-chat, talked about eating at Interstate Barbeque, and then apologized about a disc in his neck, which he said was also affecting his vocals. I thought nothing of it, until the end of the show.
The Raconteurs were tight for the first 45 minutes, but after that, they got increasingly jammy. I don’t like jam music. It’s repetitive, boring, pointless, and unsatisfying. And until the end of the first set, the Raconteurs just jammed away. It was incredibly disappointing. But as always, there was an encore. (Does anyone not play encores anymore?) And man, this encore was better than the whole show so far.
The first set was noticeably free of the radio hits, “Steady As She Goes,” and the newer “Salute Your Solution.” But the Raconteurs brought it out in full force. After playing two powerful, cagey numbers, they pulled out the big guns to satiate the crowd. And unfortunately, because Jack White couldn’t sing, they brought out Mosshart of the Kills. I could have cried. She had to read the lyrics off a piece of paper, and something happened to White’s guitar. During “Steady As She Goes,” the last song, he went through three guitars to get the right sound, but he eventually fixed it. The set ended to raucous cheers and applause, and the band took a bow before they left the stage, which I had never seen before.
All in all, the concert was a solid B-. The Raconteurs took a little too much liberty with the jam session, and the opening band was abysmal live. But they completely redeemed themselves with some swift, tight rock songs, and awesome audience rapport. If anything, I would recommend buying the Raconteurs albums, and getting a few Kills tracks. But please, if you get the chance, go see the Raconteurs if only to see Jack White. He is just too good to believe.
- Jake Smith

- Photo: Lindsay Smith