Iron and Wine – In The Venue November 6, 2013

I&W

In the summer of 2012 I had the opportunity to see Iron and Wine as part of Salt Lake City’s summer Twilight Concert Series. While I enjoyed the show for the most part, I couldn’t help but feel that I wasn’t seeing this band in its proper element. Seeing them at In The Venue on November 6 was much closer to the setting I had in mind.
Now I must say that I’m not a die hard Iron and Wine fan. I do like the music, but for example, I haven’t been able to track down a set list for this show, and I can’t name one song he did other than his infamous cover of the Postal Service’s hit “Such Great Heights”. Now I’m sure this makes me pathetic to actual fans of the band, but with all this being said, I feel like my review has some insight to offer that the typical fan might not experience.
While In The Venue, is a much better location than Pioneer Park, I still felt like a theater setting might be best for this show and style of music. Perhaps seeing him at Kingsbury Hall would be the perfect place. It’s not a matter of sitting down or not. Trust me I have stood for some pretty lengthy shows and didn’t mind it in the least. I just feel like a theater would set the proper tone for this band.
Now let’s get something else out of the way. Can somebody help me please? Should I refer to Iron and Wine as they, them, or him? Because it seems to me that Iron and Wine for all intents and purposes is 100% vocalist, guitarist, and songwriter, Samuel Beam. So I’m going to call Iron and Wine, “he” until someone corrects me.
With that being said, Sam was joined on stage with a full band matched up in Threes. Three female backup singers, a three person horn section, and a three person string section. It was if the band had been cast in a movie about an indie folk band. All of them had their own personalities that stood out, and all of them seemed as if they had their own tale to tell. These nine musicians along with a drummer, bassist, and Sam filled the night with so many styles of music, and so many sounds, that my ears and mind don’t have a way to truly process what I heard at times. But it was beautiful and kept the two hour show full of surprises and anticipation.
As someone who again, wouldn’t consider himself a diehard fan, it was fun to watch the audience throughout the show. Usually in a show, I’m looking forward to what’s next; what great hit song am I going to hear after this one. But I didn’t have any anticipation. I just loved seeing individual faces light up at different times when they heard the song they came to hear. And I was able to enjoy the song for the song. Many of which I had heard for the first time. I was able to be in the moment for once, rather than wondering what was next. Because chances are, I wouldn’t know the song anyway.
A show like this really gives Sam the opportunity to engage with the audience, and show his personality a little more. Being a smaller venue, it seemed as if the crowd felt like they could talk with Sam and the rest of the band like they knew them. In between songs many people would shout out the song they wanted to hear. I’m not sure if this is common at an Iron and Wine show or not, Sam seemed un-phased by it. I thought at this point Sam showed his brilliance as much if not more than when he played his amazing music. Being a Southern man, Sam was always polite, and I loved how as people shouted out their requests he would say “Thank you, Thanks, Thank you”, which was basically saying, “Thanks for liking my songs, but we’re not doing that one.” True genius in my book. Be grateful, but continue with what you came here to play.
I’d say my favorite part of the night was when someone from the crowd shouted the obligatory “Freebird” when requesting a song. It’s is a long running joke for concert goers to request Lynard Skynnard’s classic hit. I don’t know where this started, but it’s been going for ages. It seemed pretty strange that this request/joke would happen at an Iron and Wine show, but nevertheless we were not immune to the attempt at humor. But where the real joke rested was with Sam. He seemed to smirk and ignore the request and begin one of his songs. But what we were all surprised to hear was Iron and Wine actually singing, “If I leave here tomorrow…” the opening lyrics to “Freebird”. The audience roared with laughter and applause, totally satisfied with this being the punch line to the joke. I truly hope I can paint this picture correctly because Sam was the one with the last laugh. So with the crowd amused with the moment, they seemed satisfied to move on to some more Iron and Wine songs. But Sam kept going. He sang this southern rock gem in his style, full of depth sincerity and purpose. The audience’s demeanor changed. They were now fully engaged in the piece. Now right at the point where the audience was moved beyond any other point in the show, Sam pulls up and says, “Just kidding.” There was a collective reaction from the audience that basically said, “We’ve been had”. As an outside observer, I thought it was hilarious, but more than anything, I realized that Sam had that much power over this audience. He could take them anywhere and they were willing to follow. And he did. He took us to places musically most of us were not prepared for. He took us to familiar favorites like the previously mentioned “Such Great Heights”. And he led us through a night I won’t soon forget.
My overall experience was excellent. From the band, to the specific small moments I noticed throughout the crowed, to the reason we were all there. The music. I would highly recommend seeing Iron and Wine live. In my opinion, the live version of any of these songs by far trumps any studio recording of his. I was honored to be a guest at this incredible event.

Brian Stokes Mitchell – Abravanel Hall November 2, 2013

Brian Stokes Mitchell has been dubbed by the New York Times as “Broadway’s last leading man.” After seeing him on November 2, 2013 at Abravenal Hall, this is a difficult thing to deny. I had the opportunity to see Brian Stokes Mitchell in Ragtime in its pre-Broadway run in Los Angeles and I knew there that I was seeing a Legend in the making. I’ve also had the privilege of seeing BSM in his Tony nominated performance in The Man of La Manchia. Now, I have seen a countless number of musicals in my day, with many a Broadway legend. But only once have I seen a show stopping number actually stop the show. This was following Mr. Mitchell’s powerful rendition of “The Impossible Dream”. For at least two minutes straight, the audience stood and applauded while BSM stood there frozen in character. If two minutes doesn’t sound like a long time, clap for two minutes straight and you’ll get an understanding of how long that is and how special that moment was. I was also able to see Brian Stokes Mitchell perform as Javert in the All-Star cast performance of Les Misérables at the Hollywood Bowl. But seeing Brian in his own solo show was truly the ultimate proof that he is “Broadway’s last leading man”.
I had only been to Abravenal Hall once, and it was to see a Warren Miller ski movie. Now while I enjoyed the film, it was nice to experience this great orchestral hall in the way it was intended. The acoustics in Abravenal were amazing. I think Brian might have been able to perform without a microphone and everyone would have been able to hear him just fine. In my opinion, Abravenal Hall truly is the finest of Utah’s performance theaters.
The concert began with the Utah Symphony performing a medley from Cole Porter’s Kiss Me Kate. While the Utah Symphony was masterfully conducted by Jerry Steichen, I could sense an eager anticipation for the arrival of Mr. Brian Stokes Mitchell. The moment finally arrived and Conductor Steichen introduced Brian as the audience applauded with a smattering of people even rising to their feet. Brian opened the show with the Broadway classic “Some Enchanted Evening” from the Rogers & Hammerstein smash hit South Pacific. And things really took off from there. Now I don’t intend to review this show song by song, you can look at the set list below to understand how amazing this night really was.
What I do want to mention is how well Brian knows his audience. He did several songs in character, but most of the songs he sang as himself. He told stories of why he was doing a particular number, or how he was given the opportunity to perform of some of his most famous roles. He sang some of Broadway’s greatest songs as well as songs most people might not have heard of. He really put together a great mix of songs to keep the audience on a constant high. He was passionate about the songs he was singing, he was moving in his stories, as well as humorous. He was gracious to the audience and mentioned several times how much he has loved performing in Utah over the years.
There were four particular highlights for me. The third song of the night was “Stars” from Brittan’s longest running musical Les Misérables. Brian’s posturing, and powerful voice put me right into the center of that musical, and I could see Javert the determined police officer desperate to seek out Jean Valjean, the man who broke his parole many years ago. Several audience members rose to their feet at the end of this number.
Another was a song written by Maury Yeston known mainly from his musicals Nine and Titanic called “New Words”. The song depicts a father teaching his son a new word each day. I have never heard this song before, but while BSM was acting out the song, I felt as if his own son was right there listening to his dad. It was a simple song with a powerful message, and beautifully performed.
Towards the end of the show, Brian spoke about two songs he’d be doing together. He talked about how the country had fallen upon hard times and how sometimes the “American Dream” can seem lost. But that it’s always important to have hope. He then sang an acapella rendition of “America the Beautiful”. Brian’s voice echoed through the hall in a way that only his voice can. As I mentioned the acoustics in Abravanel Hall are fantastic. In our day and age there is something to be said about captivating an audience. No one spoke, no phone was heard. All eyes and ears were on Brian as his voice spread thought the venue. It was a moving moment. As the song began to end, the Orchestra began their intro to “Wheels of a Dream”, on of Brian’s most notable songs from Ragtime. The commanding performance of these songs together left the audience moved to tears as well as enthusiasm. When he was finished the crowed rushed to their feet.
Finally, the song I had personally been waiting for. “The Impossible Dream” from Man of LaManchia is one of my favorite songs, and Brian Stokes Mitchell’s version is by far the best that has been done. It is no surprise that he did not disappoint. He sang each word with the meaning these lyrics deserve. The audience was inspired and again a standing ovation was in order.
The show ended with Brian coming back and singing the Louis Armstrong classic “What a Wonderful World”. This set the perfect mood to send the audience home hopeful and peaceful after a great night of music.
If you have never seen Brian Stokes Mitchell live, I highly recommend you put him on your list of people to see. Sometimes performers just go out and do their job. Perform. But Brian Stokes Mitchell makes his concert and experience. He appreciates his audience and he understands the honor it is to be a performer.

Brian Stokes Mitchell Setlist

PORTER Kiss Me, Kate- Orchestra
ROGERS & HAMMERSTEIN “Some Enchanted Evening” from South Pacific
LERNER/LOWE “How to Handle a Woman” from Camelot
BOUBIL & SHONBERG “Stars” from Les Miserables
FLAHERTY “I Was There” from The Glorious Ones
ROGERS & HAMMERSTEIN “This Was Nearly Mine” from South Pacific
GERSHWIN *Medly*

Intermission

FLAHERTY Selections from “Ragtime”- Orchestra
STYNE “Don’t Rain On My Parade” from Funny Girl
SONDHEIM/STRAYHORN “Another Hundred People/Take the ‘A’ Train”
JOBIM “Waters of March”
GERSHWIN “It Ain’t Necessarily So” from Porgy and Bess
YESTON “New Words”
WARD “America the Beautiful” accapella from Ragtime
FLAHERTY“The Wheels of a Dream” from Ragtime
LEIGH “The Impossible Dream” from Man of La Mancha

Encore
THEILE & WEISS “What a Wonderful World”

Muse – Energy Solutions Arena September 19, 2013

Muse8

Muse-Salt Lake City
Energy Solutions Arena
September 19, 2013
 
Set List
The 2nd Law: Isolated System
Supremacy
Supermassive Black Hole
Map of the Problematique
(Rage Against the Machine’s Maggie’s Farm outro)
Panic Station
(Star Spangled Banner intro)
Hysteria
(Ennio Morricone’s Man with a Harmonica intro)
Knights of Cydonia
Monty Jam
Sunburn
Follow Me
Butterflies & Hurricanes
Liquid State
Madness
Plug In Baby
Time Is Running Out
(Rage Against the Machine’s Freedom outro)
Unnatural Selection
Uprising

Encore:
The 2nd Law: Unsustainable
Starlight
Survival