January 2010
U2
U2
Reliant Stadium
Houston, Texas
A massive world-wide tour, gracing two Rolling Stone covers in a span of one year, a newly-released album quickly climbing the billboard charts, and numerous televised appearances are just a few things U2 has managed to achieved within the past year. For many they are one of the hottest rock bands on the planet right now.
Over the last 30 years, Grammy-award winning U2 has produced a whopping 13 albums, filled stadiums all around the world with 15 tours under their belt, and have graced the covers of many magazines. With the release of their recent album, No Line on the Horizon, U2 paid a long awaited visit to Houston’s Reliant stadium to showcase new and old material.
A line of people had already started to accumulate as early as four in the morning waiting for hours underneath the hot, Houston sun. As soon as the doors opened at five in the afternoon, it was major mayhem; a stampede of people running and yelling with excitement trying to find the best seat in the house.
Anticipation and anxiousness seemed to fill the stadium seconds before the band was scheduled to hit the stage. Lights were dimmed and smoke filled the air. All of a sudden the crowd had filled the room with screams and applause as soon as all four men stepped onto the elaborate stage. Standing 164 feet overhead, the stage, nicknamed “the claw,” filled the stadium, resembling that of a spaceship.
The group opened with the hard-hitting “Breathe” with heavy, pounding drum-playing from Larry Mullen Jr. and fast-talk vocals from Bono. U2 followed with the lyrically abstract and fast, catchy commercially-appealing “Get on Your Boots.” As soon as Achtung Baby’s dance-worthy “Mysterious Ways” busted out of the speakers, a huge shriek of joy erupted from the crowd. Bono himself brought a woman to the stage to show off his dance moves and after that getting on his knees and planting a kiss on her hand. The crowd went wild.
The crowd went wilder when U2 pulled out classics such as “I Still Haven’t Found What I’m Looking For” and “With or Without You” from their fifth studio album, Joshua Tree. Bono’s voice was almost overcome by the loud chants and roars from the audience. More recent works such as “Beautiful Day,” “Elevation,” and “Vertigo” also gained massive sing-alongs from the audience.
However, once Edge’s infamous guitar-picking intro of “Where the Streets Have No Name” started, the audience began jumping and singing along, making the stadium shake and rumble. Probably the most visually appealing performance of the night was the laser and light show displayed during “Light My Way.” Moving like Tarzan, Bono hung high from a swinging microphone with red, bright lights bouncing off his embellished jacket, almost falling into the crowd. People watched on with open mouths and fascinated eyes. To end the night, the group performed the slow-paced yet hard-hitting “Moment of Surrender,” a ballad from their most recent album.
For three hours, it seems U2 had put many people in a music trance and many were still trying to get out of it. It seems U2, once again, had done their job.
by Bianetth Valdez
Reliant Stadium
Houston, Texas
Over the last 30 years, Grammy-award winning U2 has produced a whopping 13 albums, filled stadiums all around the world with 15 tours under their belt, and have graced the covers of many magazines. With the release of their recent album, No Line on the Horizon, U2 paid a long awaited visit to Houston’s Reliant stadium to showcase new and old material.
A line of people had already started to accumulate as early as four in the morning waiting for hours underneath the hot, Houston sun. As soon as the doors opened at five in the afternoon, it was major mayhem; a stampede of people running and yelling with excitement trying to find the best seat in the house.
Anticipation and anxiousness seemed to fill the stadium seconds before the band was scheduled to hit the stage. Lights were dimmed and smoke filled the air. All of a sudden the crowd had filled the room with screams and applause as soon as all four men stepped onto the elaborate stage. Standing 164 feet overhead, the stage, nicknamed “the claw,” filled the stadium, resembling that of a spaceship.
The group opened with the hard-hitting “Breathe” with heavy, pounding drum-playing from Larry Mullen Jr. and fast-talk vocals from Bono. U2 followed with the lyrically abstract and fast, catchy commercially-appealing “Get on Your Boots.” As soon as Achtung Baby’s dance-worthy “Mysterious Ways” busted out of the speakers, a huge shriek of joy erupted from the crowd. Bono himself brought a woman to the stage to show off his dance moves and after that getting on his knees and planting a kiss on her hand. The crowd went wild.
However, once Edge’s infamous guitar-picking intro of “Where the Streets Have No Name” started, the audience began jumping and singing along, making the stadium shake and rumble. Probably the most visually appealing performance of the night was the laser and light show displayed during “Light My Way.” Moving like Tarzan, Bono hung high from a swinging microphone with red, bright lights bouncing off his embellished jacket, almost falling into the crowd. People watched on with open mouths and fascinated eyes. To end the night, the group performed the slow-paced yet hard-hitting “Moment of Surrender,” a ballad from their most recent album.
For three hours, it seems U2 had put many people in a music trance and many were still trying to get out of it. It seems U2, once again, had done their job.
by Bianetth Valdez
Michelle Shocked
Michelle Shocked
Casbeers
San Antonio, Texas
“You’re mine tonight.” Karen Michelle Johnston clasped the audience’s attention right from the beginning. The veteran alternative-folk singer-songwriter, in her usual clothing combination of black hat, white shirt, black vest, and black jeans (accompanied with dangling silver earrings), stood confident and politically conversational, making the night seem to be a talk-sing event, a mini rally – in what used to be a church. What once was a pulpit now became the concert stage, the stained glass behind it became the display for a large portrait of the cover to Michelle Shocked’s current Soul of My Soul album and the audience sat in pews instead of chairs. But despite the once-sacred environment and Michelle’s communicative agenda, the night was riddled with jovial laughter and audience participation to Michelle’s impassioned poetry.
Each tune was not only prefaced with a comment, but even mid-song Michelle interrupted to mix politics with wit. With her song “The L&N Don’t Stop Here Anymore,” she expressed her concerns over the “jobless recovery” belief that held sway with some American politicians. “Raise your hands if you’ve lost a job or know someone who has.” After many hands were raised, Michelle sneered, “That’s a jobless recovery?” to which laughter permeated the air. “I was born and raised at the mouth of the Hazard Holler/Where the coal cars rolled and rumbled past my door/But now they stand in rust row of all empties…” she continued singing, encouraging and commending her audience’s involvement.
Aside from beautifully soaring vocals and all-around sincerity, Michelle mastered the stage with her upbeat persona. She had her arm in the air, stomped her foot and moved from one end of the very small stage to the next. And the humor and intelligent discussions were bottomless. She performed “a new song that requires singing on your part. All you have to sing is ‘doo doo do doo.’” “Pompeii,” which can be found on her current album, represents the times that we’re in: “But who was the dumb ass that built that civilization at the mouth of a volcano!” And if that wasn’t enough, she inserted some ecologically minded comedy: “think about all the nuclear energy, the clean coal Mount Vesuvius produced.”
Michelle Shocked’s intense song performance blended well with her socio-political views. Instead of losing her audience through frankness and biting commentary, she articulated her beliefs through humor and an inviting tone. After a series of critically supported albums and songs, including the classics “Anchorage” from Short Sharp Shocked, Michelle’s over 20-year career is a testament that she is still an exceptional performer.
by Jeff Boyce
Casbeers
San Antonio, Texas
“You’re mine tonight.” Karen Michelle Johnston clasped the audience’s attention right from the beginning. The veteran alternative-folk singer-songwriter, in her usual clothing combination of black hat, white shirt, black vest, and black jeans (accompanied with dangling silver earrings), stood confident and politically conversational, making the night seem to be a talk-sing event, a mini rally – in what used to be a church. What once was a pulpit now became the concert stage, the stained glass behind it became the display for a large portrait of the cover to Michelle Shocked’s current Soul of My Soul album and the audience sat in pews instead of chairs. But despite the once-sacred environment and Michelle’s communicative agenda, the night was riddled with jovial laughter and audience participation to Michelle’s impassioned poetry.
Aside from beautifully soaring vocals and all-around sincerity, Michelle mastered the stage with her upbeat persona. She had her arm in the air, stomped her foot and moved from one end of the very small stage to the next. And the humor and intelligent discussions were bottomless. She performed “a new song that requires singing on your part. All you have to sing is ‘doo doo do doo.’” “Pompeii,” which can be found on her current album, represents the times that we’re in: “But who was the dumb ass that built that civilization at the mouth of a volcano!” And if that wasn’t enough, she inserted some ecologically minded comedy: “think about all the nuclear energy, the clean coal Mount Vesuvius produced.”
Michelle Shocked’s intense song performance blended well with her socio-political views. Instead of losing her audience through frankness and biting commentary, she articulated her beliefs through humor and an inviting tone. After a series of critically supported albums and songs, including the classics “Anchorage” from Short Sharp Shocked, Michelle’s over 20-year career is a testament that she is still an exceptional performer.
by Jeff Boyce
Saffire - The Uppity Blues Women
Saffire - The Uppity Blues Women
Cactus Café
Austin, Texas
Saffire the Uppity-Blues Women trio visited Austin, Texas, for their farewell tour. After 25 years of making sweet, outspoken, and humorous music, the members of the group have decided to go their separate ways and pursue individual music projects. The ensemble hit the Cactus Café stage on a surprisingly lively Wednesday night. The group brought a mixed audience of young and old, who were eagerly waiting to get their heads bopping and bodies grooving.
Saffire opened up their nearly three-hour set with “Somebody’s Got to Give,” a new track from their recent album, Havin’ the Last Word. Lead singer Andra Faye’s powerful voice resonated throughout the album while Ann Rabson played an intense piano solo midway through eliciting deafening applause from the audience. To trio gave tribute to Saffire’s musical muse, Big Mama Thornton, with a stirring rendition of “Life Goes On.” Guitarist Gaye Adegbalola also contributed sultry and beautiful vocals as her harmonica brought heart-felt melodies. The ladies also shared a few laughs with songs such as “Too Much Butt,” “There’s Lightning in These Thunder Thighs,” and “Silver Beaver.”
While the first half of their set consisted of lively and finger-snapping tunes, the last half of their set included more personal and heart-wrenching ballads. Songs such as “Learning to Settle for Less,” “Blue Lullaby,” and “I Just Can’t Get My Mind Off of You” were rhythmically somber and breathtaking. “Learning to Settle for Less” had a jazzy feel backed up by Adegbalola’s throaty and sweet vocals. “Blue Lullaby” had a country yet soulful mood. To pay one last tribute, Saffire performed Bessie Smith’s fun and happy “Kitchen Man.” Just as the group wrapped up their set, the audience jumped up and gave the women a standing ovation, forcing them to play one more song, “Going Down to the River.” The song gave justice to Faye’s intricate, playful fiddle, Rabson’s hard-hitting piano, and Adegbalola’s finger-pounding guitar.
For many, the Uppity Blues Women filled the night with enjoyable music and many laughs. Having the last word never sounded so good.
by Bianetth Valdez
Cactus Café
Austin, Texas
Saffire opened up their nearly three-hour set with “Somebody’s Got to Give,” a new track from their recent album, Havin’ the Last Word. Lead singer Andra Faye’s powerful voice resonated throughout the album while Ann Rabson played an intense piano solo midway through eliciting deafening applause from the audience. To trio gave tribute to Saffire’s musical muse, Big Mama Thornton, with a stirring rendition of “Life Goes On.” Guitarist Gaye Adegbalola also contributed sultry and beautiful vocals as her harmonica brought heart-felt melodies. The ladies also shared a few laughs with songs such as “Too Much Butt,” “There’s Lightning in These Thunder Thighs,” and “Silver Beaver.”
While the first half of their set consisted of lively and finger-snapping tunes, the last half of their set included more personal and heart-wrenching ballads. Songs such as “Learning to Settle for Less,” “Blue Lullaby,” and “I Just Can’t Get My Mind Off of You” were rhythmically somber and breathtaking. “Learning to Settle for Less” had a jazzy feel backed up by Adegbalola’s throaty and sweet vocals. “Blue Lullaby” had a country yet soulful mood. To pay one last tribute, Saffire performed Bessie Smith’s fun and happy “Kitchen Man.” Just as the group wrapped up their set, the audience jumped up and gave the women a standing ovation, forcing them to play one more song, “Going Down to the River.” The song gave justice to Faye’s intricate, playful fiddle, Rabson’s hard-hitting piano, and Adegbalola’s finger-pounding guitar.
For many, the Uppity Blues Women filled the night with enjoyable music and many laughs. Having the last word never sounded so good.
by Bianetth Valdez
Marshall Ford Swing Band
Marshall Ford Swing Band
Cactus Café
Austin, Texas
What do you get when you mix the jazzy-tunes of Ella Fitzgerald, the smooth-delta blues style of Robert Johnson, and the western swing-vibe of Tex Williams? You get the one and only Marshal Ford Swing Band. The legendary Cactus Café had the honor of having these Texas natives take center stage and perform to an intimate crowd on a quiet Friday night. Surprisingly for the audience, the night was anything but quiet. The musical quintet kicked off the night with jump-and-jive, heavy piano-playing numbers giving the crowd something to tap their feet and bop their heads to. Songs like “Set the Word on Fire” and “Snapping and Counting” got the crowd jumping and bouncing, almost as far as being able to spot one guy amongst the crowd almost shaking and knocking his head like it was about to come off.
Along with the hard-stomping beats, came a few heart-clenching ballads making one feel like going on mama’s back porch and singing ‘till the dogs cry. Songs like “Always Late with Your Kisses” and “Going Down South” even further proved the outstanding vocal and instrumental abilities Marshall Ford have the capacity to exude. Emily Gimble, on vocals and piano, captured the essence of Etta James in her voice and sounded like a sultry, soft-voiced angel who had been plucked from underneath the gods of music heaven. Credit also goes to guitar/vocalist, Greg Harkins, whose country/blues-infused crooning most certainly made every girl in the room swoon, including me. With strong vocals, also came the steady, fierce beats of drummer, James Gwyn, and the heavy, vigorous bass-playing of Kris Wade.
The chemistry between the Marshall Ford troubadours was undeniable. The back-and-forth banter and fun, playful conversation between band mates gave the audience another reason to stick around. They made everyone feel like family, like a big family dancing to some good-old fashion rhythms. Next time these hip, cool, smooth-talking swingers happen to be around your neighborhood, bring your dancing shoes, your feet will be begging for them.
by Bianetth Valdez
Cactus Café
Austin, Texas
Along with the hard-stomping beats, came a few heart-clenching ballads making one feel like going on mama’s back porch and singing ‘till the dogs cry. Songs like “Always Late with Your Kisses” and “Going Down South” even further proved the outstanding vocal and instrumental abilities Marshall Ford have the capacity to exude. Emily Gimble, on vocals and piano, captured the essence of Etta James in her voice and sounded like a sultry, soft-voiced angel who had been plucked from underneath the gods of music heaven. Credit also goes to guitar/vocalist, Greg Harkins, whose country/blues-infused crooning most certainly made every girl in the room swoon, including me. With strong vocals, also came the steady, fierce beats of drummer, James Gwyn, and the heavy, vigorous bass-playing of Kris Wade.
The chemistry between the Marshall Ford troubadours was undeniable. The back-and-forth banter and fun, playful conversation between band mates gave the audience another reason to stick around. They made everyone feel like family, like a big family dancing to some good-old fashion rhythms. Next time these hip, cool, smooth-talking swingers happen to be around your neighborhood, bring your dancing shoes, your feet will be begging for them.
by Bianetth Valdez
