Solid Sound Festival 2017

As promised, Wilco performed its 1996 album Being There from beginning to end on Friday, June 23. Being There had won an online poll asking Wilco fans which of the band’s records it should perform on the opening night of Solid Sound, a festival Wilco curates every other year at Mass MoCA in North Adams, Massachusetts. After playing the 24 Americana songs on that beloved double album — without ever pausing for any of frontman Jeff Tweedy’s usual stage banter — Wilco came back onstage for an encore.

Without saying anything, the band launched into “I Am Trying to Break Your Heart,” the opening track from Yankee Hotel Foxtrot, its masterpiece album from 2002. And then the band played “Kamera,” the second song on Yankee Hotel Foxtrot. At this point, I wondered: Wait a second — is Wilco going to play the entire Yankee Hotel Foxtrot album, too? Some people standing near me in the crowd voiced the same question. And sure enough, that’s exactly what Tweedy and his band did, delivering all 11 songs from Yankee Hotel Foxtrot in sequence, without ever stopping to announce what they were doing.

Wilco played the songs from both albums with the sort of flourishes and sonic layers that are typical of its live performances, but the band seemed to rein in those embellishments a little bit, keeping most of the songs as concise as they are on the original records. For instance, Tweedy has created a tradition of shouting “Nothing!” many, many times at the climax of “Misunderstood,” the opening song on Being There. He skipped that ritual during this performance.

The concert gained intensity during the encore, which showed just how artfully Yankee Hotel Foxtrot was constructed. After the noisy climax of “Poor Places,” Tweedy sang the opening verse of “Reservations” in a practically solo performance on acoustic guitar. A hush fell over the outdoor field where Wilco was playing — on the grounds of the Massachusetts Museum of Contemporary Art — as Tweedy quietly sang. The band subtly began filling in the rest of the song behind him. Just as it does on the record, the song drifted into an atmospheric final epilogue. That recording continued to play after the members of Wilco had lifted their hands toward the audience and departed from the stage. It was breathtakingly beautiful. (NYC Taper posted a recording of the show.)

This was the high point of Solid Sound, but it was hardly the only reason that the festival was worth traveling to attend. The weekend also included a rare concert by the Shaggs, the sisters who made the legendarily shambolic record Philosophy of the World in 1969. This performance was actually by two of the sisters — Dot and Betty Wiggin — and they were just singing. As an article in one of the local newspapers, The Manchester Journal, explained, “Arthritis prevents both Dot and Betty from playing instruments.” They were backed up by a younger group that has also played with Dot in recent years, the Dot Wiggin Band. As the Journal noted, “they work hard to master the sisters’ very unique style.” That made for a rather strange spectacle — seemingly talented musicians trying their best to sound as primitive as the Shaggs did when they made that 1969 recording under their father’s tutelage. The audience included adoring members of the Shaggs cult as well as some people who didn’t grasp what was going on. “My God, these people can’t keep the beat,” remarked a beer vendor who was clearly unfamiliar with the story of the Shaggs. “That’s how it’s supposed to sound,” I tried to explain. She shook her head and said, “So, it’s one of those things where it’s supposed to be so bad that it’s good?” It was certainly surreal, and I found it rather endearing to watch these two older women singing the off-kilter ditties they’d recorded when they were young.

Highlights of Solid Sound included a set by Television — even without Richard Lloyd, the group plays terrific guitar duels. And so did Kevin Morby and his band. Joan Shelley’s lilting folk songs sounded as delightful as ever. I was very impressed by the vocals and guitar playing of the Saskatchewan country-folk duo Kacy & Clayton (who have recorded a new album at Wilco’s Loft studio in Chicago). Another Saskatchewan musician, Andy Shauf, performed lovely ballads. Daniel Bachman’s instrumental guitar music was exquisite. And the emotion of Big Thief’s songs was palpable. While I was never a big fan of the J. Geils Band, that group’s vocalist, Peter Wolf, gave an entertaining and energetic performance with his current group, the Midnight Travelers. I also enjoyed the shows on the big stage by Kurt Vile and the Violators and Dave Alvin and Phil Alvin with the Guilty Ones.

In addition to all of the music, there was comedy — led as always by John Hodgman. Sadly, I missed out on all of that because of schedule conflicts with the live music. But I did find time to explore the art exhibits at Mass MoCA, which recently expanded. Chicago artist Nick Cave (not to be confused with the musician of the same name) has a massive installation called Until at the museum through August, which really shows what’s cool about this venue: With big rooms inside 19th-century factory buildings, it gives artist spaces where they try out big ideas. Here’s my video of a quick, three-minute walk-through of Cave’s installation:

Other noteworthy exhibits now on display include Jenny Holzer’s exploration of U.S. government’s torture victims at sites including Abu Ghraib. And there’s an interesting set of artworks by the musician Laurie Anderson, including huge drawings of dogs and some virtual reality environments she created. I spent 15 minutes immersed in one of those three-dimensional realms, and it was an odd and beguiling trip.

Of course, Solid Sound featured even more Wilco. On the second night, Wilco played a more typical concert. After opening with “At Least That’s What You Said,” the first song from the 2004 album A Ghost Is Born, Tweedy joked that, no, the band was not going to play that whole record: “We aren’t going to play any albums in their entirety tonight,” he said. “We’re going to play stuff from all our albums — except Being There and Yankee Hotel Foxtrot. If you like those albums, you should have been here last night.” During the song “Via Chicago,” Tweedy abruptly exclaimed, “Holy shit! What the fuck was that?” I was too far away to see what had happened, but other audience members later told me that a bat had swooped down near Tweedy’s face as he was singing. Later in the show, Tweedy joked that he’d been attacked by a falcon or a “predator drone,” and he said it was the most scared he’s ever been onstage. He recovered pretty quickly in that moment, though. (Set list.)

Wilco’s various side projects played during the festival, including the Autumn Defense performing its album Circles and closing with a Love cover. Nels Cline played complex and lyrical jazz guitar with a quartet that included his past collaborator, guitarist Julian Lage. And drummer Glenn Kotche’s group On Fillmore sounded great — from inside the museum, anyway, where I happened to be at the time.

Just as it did in 2015, Solid Sound concluded with a set by Tweedy & Friends. The first part of this performance featured the band called Tweedy. That was followed by a solo acoustic performance by Jeff Tweedy. And then numerous musicians joined in — including two of his sons: drummer Spencer Tweedy (of course) but also Sammy, who sang Graham Nash’s song “Military Madness.” With various members of Wilco and other bands filling the stage, Tweedy and his assembled friends sang “California Stars,” “Give Back the Key to My Heart” and “I Shall Be Released.” (Set list.) It was a fitting way to end this weekend of friendship and creativity.

Photos from June 23

Nancy and Beth (Stephanie Hunt and Megan Mullally)
Nancy and Beth (Stephanie Hunt and Megan Mullally)
Dave Alvin and Phil Alvin with the Guilty Ones
Dave Alvin and Phil Alvin with the Guilty Ones
Dave Alvin and Phil Alvin with the Guilty Ones
Nick Offerman introduces Wilco.

Photos from June 24

Kacy & Clayton
Kacy & Clayton
Kacy & Clayton
Joan Shelley
Joan Shelley
The Shaggs
The Shaggs
The Shaggs
Big Thief
Big Thief
The courtyard during Big Thief’s set
Deep Sea Diver
Max Hatt and Edda Glass
Peter Wolf and the Midnight Travelers
Peter Wolf and the Midnight Travelers
Peter Wolf and the Midnight Travelers
Kevin Morby

Kevin Morby
Television
Television
Television
Television
Television
Television
Television
Joe’s Field during Television’s set
Robert Glasper Experiment
Robert Glasper Experiment
Kurt Vile and the Violators
Kurt Vile and the Violators

Photos from June 25

Daniel Bachman
Daniel Bachman
Andy Shauf
Andy Shauf
The Autumn Defense
The Autumn Defense

The Nels Cline Four
The Nels Cline Four
The Nels Cline Four
Tweedy and Friends

Solid Sound, Part 4

My recap of Solid Sound 2013, continued from blog posts 1, 2 and 3

The Solid Sound festival also featured rousing soul music by the Relatives; rootsy jamming by White Denim; harmonic pop by Lucius (who were most impressive when they guested with Wilco); Miracle Legion founder Mark Mulcahy doing solo music, with J. Mascis playing guitar in the back part of the stage; a nice set of solo singer-songwriter music by Sean Rowe; and singer-songwriter Sam Amidon playing quiet songs in the vein of Nick Drake as well as more traditional Appalachian folk, with Beth Orton (his wife) joining in for one song. Marc Ribot and Los Lobos’ David Hidalgo played a terrific set of their “Border Music,” and Brazil’s Os Mutantes playing songs from its new album Foot Metal Jack (which I’m not so keen on) but also some of its classic psychedelic tunes. And as mentioned in Part 2, the fest closed with a strong set by Medeski Martin & Wood, supplemented by various guests.

White Denim
White Denim
The Relatives
The Relatives
Mark Mulcahy
Mark Mulcahy
The Solid Sound fest at MASS MoCA
The Solid Sound fest at MASS MoCA
Sean Rowe
Sean Rowe
Lucius
Lucius
J. Mascis plays guitar during Mark Mulchay's set
J. Mascis plays guitar during Mark Mulchay’s set
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Os Mutantes
Marc Ribot and David Hidalgo
Marc Ribot and David Hidalgo
Marc Ribot
Marc Ribot
David Hidalgo
David Hidalgo
John Medeski
John Medeski
Billy Martin
Billy Martin
Chris Wood
Chris Wood
Chris Wood
Chris Wood
Medeski Martin & Wood
Medeski Martin & Wood
John Medeski
John Medeski

Watching all of the music, I missed most of the comedy cabaret hosted by Hodgman, though the portion I caught — featuring Hodgman and Jen Kirkman — was hilarious and eccentric.

In between the concerts, I stopped into MASS MoCA’s galleries and saw a few of the most striking and memorable artworks I’ve experienced in a while. The Chinese artist Xu Bing’s Phoenix, a pair of hundred-foot-long mythical birds constructed out of debris, is hanging from the ceiling in a room the size of an airport hangar. (And Xu Bing’s remarkable super-wide-screen animated film The Character of Characters was screening in another room.) Another gallery displayed a thousand or so miniature paintings that Tom Phillips created on the pages of an obscure Victorian-era novel, W.H. Mallock’s A Human Document. I could have spent many more hours examining these fascinating pictures. And then there was an entire building devoted to the paintings of minimalist Sol LeWitt. Now, I must confess here that I am unenthusiastic and generally bored by most minimalist art. When I see a big canvas covered in one color of paint, my typical response is, “Big deal.” So I wasn’t thrilled with the prospect of seeing all those LeWitt paintings. But there was something damn impressive about seeing all of them assembled in the three floors of this building. Taken as a whole, they became more like a weird piece of architecture.

Xu Bing's Phoenix at MASS MoCA
Xu Bing’s Phoenix at MASS MoCA
The Sol LeWitt exhibit at MASS MoCA
The Sol LeWitt exhibit at MASS MoCA
MASS MoCA's exhibit of art by Jason Middlebrook
MASS MoCA’s exhibit of art by Jason Middlebrook
A detail from inside artist Mark Dion's installation "The Octagon Room" at MASS MoCA
A detail from inside artist Mark Dion’s installation “The Octagon Room” at MASS MoCA
Tom Phillips' "A Humument," on display at MASS MoCA
Tom Phillips’ “A Humument,” on display at MASS MoCA

All in all, Solid Sound lived up to its name. It’s an inspiring model for how to run an arts festival — although it’ll be hard to emulate elsewhere, because how many other places are there like MASS MoCA?

Artist Mark Remec's piece "Objects in Mirror Are Closer Than They Appear (Circle Totem)" in the foreground, with the main Solid Sound stage in the background, following the end of the festival of Sunday evening
Artist Mark Remec’s piece “Objects in Mirror Are Closer Than They Appear (Circle Totem)” in the foreground, with the main Solid Sound stage in the background, following the end of the festival of Sunday evening
Artist Marko Remec's installation "Can't Hear You (Fat Totem)" — acrylic dome safety mirrors strung up on an old water tank — on the Solid Sound festival grounds at MASS MoCA
Artist Marko Remec’s installation “Can’t Hear You (Fat Totem)” — acrylic dome safety mirrors strung up on an old water tank — on the Solid Sound festival grounds at MASS MoCA
A courtyard at MASS MoCA
A courtyard at MASS MoCA

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Read more about Solid Sound and see more photos in Parts 1, 2 and 3

Solid Sound, Part 3

Read more about Solid Sound and see more photos in Parts 1, 2 and 4

My last two blog posts about Solid Sound were about what the members of Wilco were up to during this festival. But like any decent fest, this one wasn’t entirely about one band. In brief, the other highlights included a high-energy show on Saturday afternoon by The Dream Syndicate, who were cult favorites in the 1980s California indie-rock scene. This was their first North American gig in more than two decades, but as it felt like they’d never stopped playing.

The Dream Syndicate
The Dream Syndicate
The Dream Syndicate
The Dream Syndicate
The Dream Syndicate
The Dream Syndicate
The Dream Syndicate
The Dream Syndicate
The Dream Syndicate
The Dream Syndicate

Yo La Tengo played not one, but two shows during Solid Sound. Alas, I arrived too late on Friday night to get a set at the screening of the film The Love Song of R. Buckminster Fuller, featuring a live score performed by Yo La Tengo. On Saturday afternoon, the group played a typically excellent set of its songs, both old and new, with the most drastic shift in dynamics I heard all weekend. After blasting a couple of noisy songs to open their concert, Yo La Tengo took the volume way, way down for a couple of its hushed, whispery ballads, “The Point of It” and “Decora” — and it seemed like everyone in the crowd stopped making any sound so they could listen in. (At least, that’s what it was like by the stage, where I was standing.) By the end of the set, the band back at full volume.

Yo La Tengo
Yo La Tengo
Yo La Tengo
Yo La Tengo
Yo La Tengo
Yo La Tengo
Yo La Tengo
Yo La Tengo
The MASS MoCA courtyard during Yo La Tengo's set
The MASS MoCA courtyard during Yo La Tengo’s set

Out of all the artists playing at Solid Sound, the one that seemed to represent younger, hyped bands was Foxygen. Just as they acted goofy during their recent in-store at Chicago’s Saki, Foxygen’s members seemed loopy at Solid Sound as they cavorted on the stage, playing their quirky, catchy songs. Perhaps they cavorted a bit too much. I heard most of Foxygen’s set, but I was away from the stage when lead singer Sam France reportedly tried to climb the scaffolding and got pulled down by security. Later in the day, I noticed three security guards surrounding Foxygen’s tambourine player, who looked intoxicated, and escorting him away from a tree. During Wilco’s show that night, Jeff Tweedy told the audience that the members of Foxygen had been “kicked out” of the festival. “They’re awesome. A little too awesome, I think,” he said. Later, he apologized, saying he hadn’t meant to disparage the band. But he dedicated the song “Passenger Side,” a song about drunk driving, to Foxygen. And then Tweedy brought up Foxygen one more time, suggesting that they might want to try drinking water onstage. The Reverse Direction blog has more about the Foxygen story. Whatever happened, I was charmed by what I saw of Foxygen’s set.

Foxygen
Foxygen
Foxygen
Foxygen
Foxygen
Foxygen

Although Low got some flack for playing one long droning song at the recent Rock the Garden festival in Minneapolis, the band played a standard set of its songs at Solid Sound on Saturday. And with Low, standard means beautiful.

Low
Low
Low
Low
Low
Low
Low
Low
Low
Low

Neko Case is another artist who nearly always delivers a good to great performance, and her show on Saturday night included a few songs from her forthcoming album The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You, which comes out Sept. 3 on Anti. On first impression, the new songs sounded like a strong continuation of the singular style of music Case has been shaping over her last few records. For me, the highlight of the set was a heart-stopping performance of her 2002 song “I Wish I Was the Moon,” with Case’s voice plaintively calling out across the park in the opening verse. “We’re kind of a weird band for a festival because all of songs are bummers,” Case remarked at one point. Her stalwart harmony singer, Kelly Hogan, pointed out: “Low played earlier.” At the end of her set, Case said, “Every single song in our set is dedicated to that girl playing drums on her dad’s head.”

Neko Case
Neko Case
Neko Case and Kelly Hogan
Neko Case and Kelly Hogan
Neko Case
Neko Case
Neko Case
Neko Case
Neko Case
Neko Case
Neko Case
Neko Case
Neko Case
Neko Case
Jon Rauhouse plays during Neko Case's set
Jon Rauhouse plays during Neko Case’s set
Neko Case
Neko Case

Read more about Solid Sound and see more photos in Parts 1, 2 and 4

Solid Sound, Part 2

Read more about Solid Sound and see more photos in Parts 1, 3 and 4

Given the fact that Solid Sound was a festival organized by Wilco, it’s not surprising that it also featured side projects by the band’s various members on Sunday (June 23). The most impressive of these may have been Wilco member Nels Cline’s eloquent, virtuosic guitar duets with Julian Lage. Cline later showed up as one of the guests during the festival-closing set on Sunday night by the jazz trio Medeski Martin & Wood, and he ended up playing for about half of their set, bending and twisting the notes on his guitar in a frenetic style reminiscent of John McLaughlin’s legendary work with the Mahavishnu Orchestra. (Tweedy, Hidalgo and Ribot also sat in on that set at various points.)

Nels Cline and Billy Martin
Nels Cline and Billy Martin during the set by Medeski Martin & Wood

Mikael Jorgensen — the keyboardist and electronics whiz who generally sits at the back of the stage during Wilco shows, making himself the least showy member of the band — had a couple of chances at Solid Sound to show off what he does. On Saturday, he generated live electronic analog synth music in a dark museum room, accompanied by longtime Wilco techs Nathaniel Murphy, Travis Thatcher and Josh Goldsmith. I dipped into the performance for a short sample, and it felt like I’d stepped out of the summer festival and into a … well, not a rave, exactly, since no one was dancing. A laboratory?

Mikael Jorgensen in the "Oscillator Fumes" room
Mikael Jorgensen in the “Oscillator Fumes” room

And then, the following afternoon, Jorgensen took his pulsing electronic music out into the broad daylight, playing a set with Greg O’Keeffe and Oliver Chapoy. I’m not sure if Wilco’s more traditional-music-loving fans knew what to make of it, but the droning noise settled over the museum courtyard like an invasion of cicadas — but with a danceable rhythm.

Mikael Jorgensen, Greg O'Keeffe and Oliver Chapoy
Mikael Jorgensen, Greg O’Keeffe and Oliver Chapoy
Mikael Jorgensen
Mikael Jorgensen
Oliver Chapoy
Oliver Chapoy
Greg O'Keeffe
Greg O’Keeffe

Another member of Wilco with avant-garde tendencies outside of the band, drummer Glenn Kotche, played as part of the duo On Fillmore, which also includes bassist Darin Gray. But it wasn’t a straightforward concert of their music. Rather, they provided accompaniment for an entertaining live version of the public radio show “Radio Lab,” which featured Jad Abumrad and Robert Krulwich reading from scripts and playing short clips from interviews as Kotche and Gray made sounds to evoke the story of the dinosaurs’ extinction.

The crowd gathered in a MASS MoCA courtyard for a live performance of "Radio Lab"
The crowd gathered in a MASS MoCA courtyard for a live performance of “Radio Lab”
Jad Abumrad and Robert Krulwich of "Radio Lab," with Darin Gray of On Fillmore
Jad Abumrad and Robert Krulwich of “Radio Lab,” with Darin Gray of On Fillmore
Glenn Kotche plays with On Fillmore
Glenn Kotche plays with On Fillmore
Glenn Kotche plays with On Fillmore
Glenn Kotche plays with On Fillmore
Darin Gray makes dinosaur noises with On Fillmore
Darin Gray makes dinosaur noises with On Fillmore
The key mammal that survived the meteor explosion that killed off the dinosaurs — the shrewdinger — appears during "Radio Lab," with Jad Abumrad, right.
The key mammal that survived the meteor explosion that killed off the dinosaurs — the shrewdinger — appears during “Radio Lab,” with Jad Abumrad, right.

While some members of Wilco contribute elements of jazz, electronic and avant-garde music to the mix, John Stirratt and Pat Sansone bring a power pop, classic rock and soft rock sensibility, and that was on full display when they performed as the Autumn Defense. After playing pretty pop songs from their own albums, they closed with a perfect cover of Bob Welch’s 1977 radio hit “Sentimental Lady.”

The Autumn Defense
The Autumn Defense
Pat Sansone plays with the Autumn Defense
Pat Sansone plays with the Autumn Defense
John Stirratt plays with the Autumn Defense
John Stirratt plays with the Autumn Defense

Meanwhile, the Blisters — a band featuring Jeff Tweedy’s son, Spencer, on drums — also played at Solid Sound. The youngsters got plenty of adults dancing as they rocked out near the end of their noontime Sunday set.

The Blisters
The Blisters
The Blisters
The Blisters
The Blisters
The Blisters

Read more about Solid Sound and see more photos in Parts 1, 3 and 4

Solid Sound, Part 1

The MASS MoCA grounds
The MASS MoCA grounds

Read more about Solid Sound and see more photos in the rest of my report: Parts 23 and 4

Wilco’s home base is Chicago, but the band’s vacation home seems to be MASS MoCA — the Massachusetts Museum of Contemporary Art in North Adams, Mass.  Wilco held its Solid Sound festival of music and arts June 21-23 on the museum’s sprawling grounds, the third time in four years that it has brought this event to this spot in the Berkshires. (The previous two Solid Sound fests were in 2010 and 2011, and then the event took the year off in 2012.) This past weekend was my first visit to Solid Sound and MASS MoCA.

IMG_6758

What a cool place to hold a festival. The maze-like museum has been open only since 1999, but most of the 26 brick buildings on the 13-acre site have been standing there since the 19th century, when 3,200 people worked there, making printed textiles for Arnold Print Works. During World War II, the industrial complex was transformed into the Sprague Electric Co.’s factory.

The Wilco strongman carnival game
The Wilco strongman carnival game

Now, it’s a place for putting up works of modern and contemporary art, with enough space to hang up some truly massive sculptures and paintings. And for three days in June, it was also a place to make music — and to explore. During his performance on Sunday with David Hidalgo, guitarist Marc Ribot marveled at the sight of music fans gathered in one of the old factory courtyards. “If they took all of the factories and turned them into art museums, everyone would have fun,” he remarked. (Not exactly a sound idea in economic terms, but let’s not quibble too much.)

Like many other music festivals, this one had a bunch of bands playing on a few stages, with their performances taking place over a few days. That’s one of the main reasons people attend festivals: to see a whole lot of bands in one fell swoop. The pace was more leisurely at Solid Sound than it is at, say, Lollapalooza or Pitchfork, with only a little bit of overlap in the performances. There was plenty of room for people to move around, anywhere other than the clusters right in front of the stages for the most popular musical artists.

There was a lot more than live music at Solid Sound. John Hodgman, who emceed the comedy portion of the festival, called it “a nexus of fantastic things coming together in an amazing space.” Of course, Hodgman was emceeing, so you’d expect him to hype up the festival a bit, but his description wasn’t far off from the truth.

Naturally, art was on display in and around the art museum — as well as displays created specifically for Solid Sound. “Jeff Tweedy’s Loft” exhibited pieces of Wilco memorabilia.

"Jeff Tweedy's Loft" exhibit at MASS MoCA
“Jeff Tweedy’s Loft” exhibit at MASS MoCA
1962 Silvertone 1482 tube amp used during the "A.M." sessions, on display in "Jefff Tweedy's Loft" at MASS MoCA
1962 Silvertone 1482 tube amp used during the “A.M.” sessions, on display in “Jefff Tweedy’s Loft” at MASS MoCA
A Nudie jacket on display in the "Jeff Tweedy's Loft" exhibit at MASS MoCa
A Nudie jacket on display in the “Jeff Tweedy’s Loft” exhibit at MASS MoCa

One of the museum’s galleries filled with Sol LeWitt paintings featured Wilco drummer Glenn Kotche’s sonic soundscapes playing over the speakers. Kotche also created some “earth drums,” which were embedded in the ground, with signs encouraging festival attendees to tap out messages in Morse code to one another. (I got the impression that most people were just playing random rhythms.) Wilco bassist John Stirratt and Chicago artist Chad Gerth created the “Rickshaw of Forward Motion,” a mobile sound installation. (I failed to catch a ride on it.)

Jeff Tweedy, during the June 21 Wilco concert
Jeff Tweedy, during the June 21 Wilco concert

And of course, Wilco performed on the concert stage — an all-request show on Friday night, followed by a more standard Wilco show on Saturday night. Saturday’s concert was fine, as far as Wilco concerts go. Just another night starring an outstanding band playing a wide range of songs from throughout its career. If you’ve seen a Wilco concert in the last few years, you’ve seen a show like this one. But the one on Friday was something else entirely.

John Hodgman, "randomizing" during the June 21 Wilco concert
John Hodgman, “randomizing” during the June 21 Wilco concert

The band asked for fans to request songs, and boy did they ever — apparently dozens of pages listing songs. Pulling from that list, the songs that Wilco chose to play were almost entirely covers. Hodgman came out onto the stage several times to “randomize” the concert, pulling out ping-pong balls with numbers assigned to songs on the huge master list and challenging the band to play them. This resulted in a few of the less-rehearsed and sloppier tunes of the night (Grateful Dead’s “Ripple” and Yo La Tengo’s “Tom Courtenay,” which was rescued by the participation of Yo La Tengo itself). Just to prove that all of his choices weren’t rigged, Hodgman also brought up three audience members to play “stump the band.” It turned out that Wilco couldn’t really play two of these audience requests (Lucinda Williams’ “Atonement” and the Cranberries’ “Dream”) without learning and rehearsing them, but the band delighted much of the crowd when it succeeded at playing the third audience member’s unlikely request: Daft Punk’s current hit, “Get Lucky.”

Jeff Tweedy, Pat Sansone and James McNew of Yo La Tengo, during the June 21 Wilco concert
Jeff Tweedy, Pat Sansone and James McNew of Yo La Tengo, during the June 21 Wilco concert

The members of Wilco were clearly having a blast as they played covers of some terrific tunes, ranging from the delicate, wistful beauty of the Kinks’ “Waterloo Sunset” to a goose-bump-raising guitar solo by Nels Cline during Television’s epic “Marquee Moon.” And Replacements guitarist Tommy Stinson made a surprise appearance when Wilco played the Mats classic “Color Me Impressed.” Stinson (who will play with the reunited Replacements — er, Westerberg and Stinson — at Riot Fest in September) had a big grin on his face the entire time, and Tweedy seemed to relish sharing the stage with him.

Jeff Tweedy and Tommy Stinson, during the June 21 Wilco concert
Jeff Tweedy and Tommy Stinson, during the June 21 Wilco concert

At a couple of points during the night, a fan or two shouted, “Play some Wilco songs!” If you had never seen Wilco before, this concert would’ve served as a rather unusual introduction to the band’s live act. But for longtime fans, this was a night to treasure, filled with delightful musical nuggets. (NYC Taper captured the whole thing on audio.)

The set list almost speaks for itself:

The Boys Are Back in Town (Thin Lizzy) 
/ Cut Your Hair (Pavement)
 / In the Street (Big Star)
 / New Madrid (Uncle Tupelo)
 / Dead Flowers (Rolling Stones)
 / Simple Twist of Fate (Bob Dylan) / Ripple (Grateful Dead)
 / Who Loves the Sun (Velvet Underground)
 / And Your Bird Can Sing (The Beatles)
 / And Your Bird Can Sing (repeat) / Psychotic Reaction (Count Five)
 / Tom Courtenay (Yo La Tengo)
 with Yo La Tengo / James Alley Blues (Richard Rabbit Brown)
 / Waterloo Sunset (Kinks)
 with Lucius / Waterloo (ABBA)
 with Lucius / Peace Love and Understanding (Nick Lowe)
 / Marquee Moon (Television)
 / Happy Birthday (to Pat Sansone) / Don’t Fear The Reaper (Blue Oyster Cult) / Cinnamon Girl (Neil Young) / (Stump the Band) / Get Lucky (Daft Punk)
 / Surrender (Cheap Trick)
 / Color Me Impressed (Replacements)
 with Tommy Stinson
 / Kingpin
 / Thank You Friends (Big Star)
 / ENCORE: The Weight (The Band)
 with Lucius / Roadrunner (The Modern Lovers) with Yo La Tengo

Nels Cline, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Nels Cline, Glenn Kotche and Jeff Tweedy, during the June 21 Wilco concert
Nels Cline, Glenn Kotche and Jeff Tweedy, during the June 21 Wilco concert
John Stirratt, during the June 21 Wilco concert
John Stirratt, during the June 21 Wilco concert
Jeff Tweedy and Lucius, during the June 21 Wilco concert
Jeff Tweedy and Lucius, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Tommy Stinson and Jeff Tweedy, during the June 21 Wilco concert
Tommy Stinson and Jeff Tweedy, during the June 21 Wilco concert
Jeff Tweedy, Glenn Kotche and Tommy Stinson, during the June 21 Wilco concert
Jeff Tweedy, Glenn Kotche and Tommy Stinson, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Nels Cline, during the June 21 Wilco concert
Mikael Jorgensen, Nels Cline, Jeff Tweedy and  Glenn Kotche, during the June 21 Wilco concert
Mikael Jorgensen, Nels Cline, Jeff Tweedy and Glenn Kotche, during the June 21 Wilco concert
Wilco's June 22 concert
Wilco’s June 22 concert
Pat Sansone, during Wilco's June 22 concert
Pat Sansone, during Wilco’s June 22 concert
Jeff Tweedy, during Wilco's June 22 concert
Jeff Tweedy, during Wilco’s June 22 concert
Glenn Kotche, during Wilco's June 22 concert
Glenn Kotche, during Wilco’s June 22 concert
Glenn Kotche, during Wilco's June 22 concert
Glenn Kotche, during Wilco’s June 22 concert
Jeff Tweedy, during Wilco's June 22 concert
Jeff Tweedy, during Wilco’s June 22 concert
Jeff Tweedy, during Wilco's June 22 concert
Jeff Tweedy, during Wilco’s June 22 concert
John Stirratt, during Wilco's June 22 concert
John Stirratt, during Wilco’s June 22 concert
Nels Cline, during Wilco's June 22 concert
Nels Cline, during Wilco’s June 22 concert

Read more about Solid Sound and see more photos in the rest of my report: Parts 23 and 4