Last night I went to see Andrew Bird play at the Moore Theater, in Seattle, WA, and it was an interesting evening.
So if you've ever met me - you know that I have a healthy obssession with the Chicago Multi-instrumentalist Andrew Bird. With many musicians you look for idols and ideals in your own genre of music that you want to emulate, or at least pull inspiration from ---- as a violinist in a rock band such as my own, the list of musicians which you can actually draw from is significantly limited compared to say drummers, guitarists, and bassists.
For me, Andrew Bird is one variant of the ideal violinist in a contemporary pop, indie rock setting: he utilitizes music recording and onstage gear very well, he has a stellar onstage persona, and he is able to carve his own path based on his own music - which in itself is the most impressive feat - and damn can he play that violin.
Recently Andrew Bird - the violin toting, whistling, glockenspeil and guitar playing guru released his eighth studio album, 'Noble Beast' - which continues his punch into the indie rock alternative genre. Lately a lot of people have been comparing him to Rufus Wainwright, Jeff Buckley, and even the sounds of Sufjan Stevens. Yet comparing him to other contemporary artists such as the above doesn't really fully describe his sound.
Technically his layout is extremely complex. Onstage and in the studio, Andrew Bird uses a combination of two Line 6 Loop stations linked with each other along with some other choice pedals, which allow him to build overdub upon overdub of his violin plucks, bowings, whistlings, glockenspiels etc. Sometimes the sound can be either enchanting and ethereal or raucous and overwhelming.
The amazing thing is that the majority of his compositions he can do solo, and sound like a full orchestra - with the magic of his Line 6's. When Andrew Bird first began this project, with the album's 'Weather Systems' and 'Mysterious Production of Eggs', he kept things relatively simple with just him and drummer/electronica composer Martin Dosh. And the compositions were unreal and beautiful.
With the inclusion of Mike Lewis (bass/clarinet) and Jeremy Ylvisaker (guitar) both using Line 6 loop stations, the potential for chaos is undeniable. Even when I spoke with Jeremy and Mike directly after Andrew Bird's show at the Moore Theater, they were both noticeably nervous about the topic. The risk you run with more and more musicians on stage all using loop stations trying to sync with each other, and all contributing to the ever swirling madness of digital playback... is utter cacophony. Granted, Andrew Bird and his crew are adept at keeping the chaos at bay - but at times, I missed the simple solo instrumentation of Mr. Bird plucking out a simple melody.
The show itself at the Moore Theater was initially an uncomfortable experience. The whole urban hippy, uptight Seattlite crowd had gathered in full at the Moore, and the group of friends I had brought with me was noticeably disgruntled. Andrew Bird's Music definitely caters to the more artsy, hipster crowds - and they were out in force that evening. Loney Dear, one of the newest additions to Seattle's Sub Pop records opened the show. The Swedish group plowed through their 45 minute set and garnered a appreciative response from the audience.
Once Andrew Bird took the stage by himself and began the evening with a swirling intro and broke into a alternative version of 'Self Torture' the group instantly responded positively. Immediately afterward, Martin Dosh, Jeremy and Mike took the stage and went into 'Master Swarm' (one of my favorite new songs).
The set list that followed that evening:
Self Torture (Andrew Bird Solo)
Master Swarm (full band)
Natural Disaster
Extended Intro into 'Effigy'
Oh No
Plasticites (with an extended ending)
Fitz and the Dizzy Spells
At this point, Andrew Bird made an extension introduction for his colleague Martin Dosh calling him a "prolific and established composr and drummer." The band broke into a rousing version of 'Not A Robot, But a Ghost.'
Armchairs
Anonimal
Fiery Crash
Imitosis
Table and Chairs
Encore:
Why (Andrew Bird Solo)
Don't Be Scared (from Weather Systems)
After the show was done, the Seattle hipsters filed out quickly and so did myself, my girlfriend and my friends that came with me to the show. I was determined to talk with Andrew Bird, and we decided to wait for the band to come out so I could talk with them. Unfortunately the enthusiasm I had for the band wasn't fully shared by my entire group- which was disappointing for me - since I had been idealizing this evening for a while in my own head.
After waiting 35 minutes in the miserable drizzle, I saw Mike Lewis (bass/clarinet) and Jeremy Ylvisaker (guitar). As I approached both Mike Lewis and Jeremy Yylsaker, I became instantly nervous. You realize that you have become the solicitor and the loiterer, and it was an uncomfortable position to be in for me. Once I spoke with both Mike and Jeremy, I became more at ease and asked them several questions about the Line 6 set up, and how they all met and got started with Andrew Bird.
Mike Lewis and Jeremy Ylvisaker had all played in various bands with Martin Dosh and other Minneapolis musicians - just all apart of the same music scene, so it only seemed natural that once Martin Dosh had partnered up with Andrew Bird, that Mike Lewis and Jeremy Ylvisaker would follow.
After speaking with them, I saw Martin Dosh briefly, but was unable to catch his attention. Another 20 minutes passed, and I finally saw Andrew Bird and approached him. Sometimes when you listen to someone’s music and see them perform you start feeling a bond with them, a sort of understanding of what they’re about. And as a violinist myself (classically trained, initially through Suzuki, in a band, touring myself etc.) I felt that our bond should have been stronger than any mere fan. Or so you think, until you meet them in person and realize you have nothing to say, besides maybe describing what their music means to you.
When I introduced myself I told him that I had been playing violin myself for a long time, and was hoping that would have gleaned some sort of recognition, or even an element of acknowledgement. Unfortunately it had not, and I was left with an awkward silence wanting to ask him so many questions, but I was face to face with the undeniable fact that I was merely a solicitor and not a musical kindred soul. Fortunately I was able to ask him about his violin pick up setup - but after I asked the question I felt like I had overstayed my welcome. I thanked him for his time, and walked away.
I felt frustrated by the entire experience - but then honestly didn't know what I expected from him. More than anything I wanted to be seen as an equal, or at least a kindred musican which would possibly spark a moment of connection. I guess, I will have to be content with immersing myself in his music.
~Andrew D.B. Joslyn
http://altmusic.about.com/od/reviews/fr/andrewbird.htm
http://www.sputnikmusic.com/album.php?reviewid=28791
