Ida at Saki

Four and a half years have passed since the last time indie folk-rock band Ida played in Chicago. And the group hasn’t had a new record since Lovers Prayers, one of my favorite albums of 2008. But the trio was finally back in town Sunday (Jan. 29). One member, Elizabeth Mitchell, was playing a concert of children’s music early Sunday at the Old Town School of Folk Music, which led to an opportunity for Ida to play a free show in the evening at the Saki record store.

The members of Ida remarked that they’d barely had any time to prepare for the show, but they certainly didn’t skimp on playing a generous selection of songs for the 40 or so fans at Saki, performing for 90 minutes. It was a delightfully intimate show, showcasing the hushed harmonies of Mitchell, Daniel Littleon and Jean Cook. They played some of Ida’s best songs, along with covers of songs by Richard and Linda Thompson, the Band, Bill Monroe, the Minutemen, Michael Hurley and the Secret Stars. A former member of that last band, Geoff Farina, opened the show and joined Ida for a couple of songs. Jon Langford also sat in with Ida for one song. But the main attraction was seeing Mitchell, Littleon and Cook sitting together and quietly meshing their singing, guitar, harmonium and violin into lovers’ prayers.

This show was the latest in a series of performances at Saki recorded by Epitonic, so look for a recording of it to show up in the Epitonic Saki Sessions.






Geoff Farina

Thee Silver Mt. Zion at Lincoln Hall

Thee Silver Mt. Zion Memorial Orchestra makes stirring, majestic rock music with a strong orchestral sound that rivals anything else today. Few bands deliver live performances as powerful as Silver Mt. Zion’s, and the ensemble proved its excellence once again with its show Saturday (Jan. 28) at Lincoln Hall. It wasn’t just the beautiful sound of those violins melding with the guitar, drums and upright bass to create epic peaks of sound — it was also the way all five of the musicians joined their voices together in otherworldly hymns.

The band (which includes members of the older and recently revived group Godspeed You! Black Emperor) played three new songs that carry on Silver Mt. Zion’s tradition of making long, dramatic pieces of music: “Take Away These Early Grave Blues,” “The State Itself Did Not Agree” and “What We Loved Is Not Enough.” That last song, along with another new one called “Psalms 99,” were for sale at the merch table in a limited-edition set of two 7-inchs — the songs are so long that each is split up into Parts 1 and 2 on these singles. Now there’s something you don’t see too often. Silver Mt. Zion played eight songs Saturday night. Few, if any, clocked in at less than 10 minutes, but every minute felt absolutely necessary.





















Glen Campbell’s Goodbye Tour

Glen Campbell is running out of time. We’re all running out of time, but with Glen Campbell, you really know it. In the coming years, memories will drain out of him or jumble together in his mind. If the dreadful illness he’s suffering from runs its usual, unstoppable course, Campbell may lose most of his power to communicate. No cure is known for Alzheimer’s disease, and it’s almost inevitable that Campbell will suffer the same horrible symptoms that millions of others have experienced.

Campbell bravely let the world know he had Alzheimer’s disease. And he announced he would make one final album (2011’s Ghost on the Canvas) and tour one last time. His “Goodbye” tour included two shows this week at the Rialto Square Theatre in Joliet.

At the concert on Thursday evening (Jan. 25), Campbell never directly said anything about his illness or his imminent retirement from making music. It didn’t need to be said. You could sense the deference, love and admiration that Campbell’s backup musicians (including three of his children) and the audience of longtime fans felt for him. And Campbell kept saying how glad he was to be there and thanking everyone for showing up. That’s boilerplate stage banter you might hear from any musician, but it took on a whole different depth of emotion this time. Campbell seemed to be thanking all of the fans who had ever come to his concerts and bought his records, thanking them one last time while he still could. It was a sad occasion, but it was also a beautiful celebration of this man’s terrific career as a singer-guitarist who transcended genre boundaries and recorded some of the great songs of the ’60s and ’70s.

Campbell showed some of the effects of his illness and age, but he seemed remarkably sure of himself. It helped that he had such a good band playing behind him, and it must have been comforting for him to know that his children were there at his side. But he was still essentially standing alone out at the front of the stage, a 75-year-old man who’s losing his memory facing an auditorium full of people. It appeared that he was reading lyrics off three screens arrayed along the front of the stage — his need for the prompter was more obvious when he performed a few of his new songs than when he did the old standards. Whenever one of the new songs started, he would declare, “I like this song!”

Campbell seemed uncertain where to stand. He kept moving the microphone stand away from center stage, as if he were being drawn to the side for some reason. But when he sang one of the old songs, you could almost see the memory of those words and melodies clicking into place and bringing a smile to his face. His voice was a little weathered, but still strong and confident. At a few points — including the last note of “By the Time I Get to Phoenix” — his voice ascended into a falsetto and hit a high, lovely “ooh.”

During “Galveston,” composer Jimmy Webb’s lyrics took on a new poignancy, as Campbell sang about being afraid of death: “Galveston, oh Galveston, I am so afraid of dying/Before I dry the tears she’s crying/Before I watch your sea birds flying in the sun/At Galveston, at Galveston.” As the song ended and the applause welled up, Campbell started playing the opening riff of “Galveston” all over again on his guitar — until his daughter, Ashley, interjected: “We just played that, Dad.”

Campbell spent much of the show with his blue Strat strapped over his neck, holding onto it for the moments when he would play a guitar solo. (He complained a couple of times about how heavy that guitar felt on his shoulders.) When those moments came, Campbell looked down at the neck of his guitar — and you had to wonder: Can a man suffering from Alzheimer’s disease remember all those notes? Campbell hesitated a few times, but once his fingers started moving, they really moved, and the notes rang out loud and clear. All of the night’s guitar solos belonged to Campbell, and they offered plenty of proof of his skills.

At one point during the concert, Campbell apologized for playing something not quite right — whatever it was, it was a barely noticeable mistake. Campbell told the crowd, “Always remember this, friends: If you do it perfect, they’ll want it that way every time.” Wise words worth remembering from a great musician.

Glen Campbell finished the show with a lovely, wistful song from his new record, “A Better Place,” which he co-wrote with producer Julian Raymond. Campbell sang: “One thing I know/The world’s been good to me/A better place awaits, you’ll see.”

SET LIST: Gentle on My Mind / Galveston / By the Time I Get to Phoenix / Try a Little Kindness / Where’s the Playground Susie / Didn’t We / I Can’t Stop Loving You / True Grit / Lovesick Blues / Dueling Banjos / Hey Little One (sung by Ashley and Shannon Campbell) / Any Trouble / It’s Your Amazing Grace / Country Boy / The Moon Is a Harsh Mistress / Ghost on the Canvas / Wichita Lineman / Rhinestone Cowboy / Southern Nights / A Better Place

Cheyenne Marie Mize at Schubas

The Louisville singer-songwriter Cheyenne Marie Mize has performed with Will Oldham, and now she’s establishing a solo career of her own. Her introspective 2010 debut, Before Lately, had an intriguing mix of styles, and her adventurousness continues on the new EP, We Don’t Need. When Mize performed Wednesday (Jan. 25) at Schubas, she started off her set with the song that opens the EP, “Wishing Well,” which features little more than her singing and chanting to a drum beat. Throughout the rest of her set, she switched between guitar, keyboards and violin, while two other musicians (a drummer and a multi-instrumentalist) provide subtle backing but kept the songs sounding spare and direct.





Plants and Animals at Schubas

The Montreal band Plants and Animals doesn’t easily fit into any of the typical rock genres. Their music has a bit of late ’60s/early ’70s hippie vibe, and there’s a tendency toward jamming, but they don’t sound to me like a jam band. Their 2008 record Parc Avenue is a strong set of songs with unusual turns that stick in your mind. Somehow, I completely missed their 2010 album La La Land until now, and now they’re on the verge of releasing another album, The End of It. They played at Schubas on Jan. 12, part of the bigger-than-ever Tomorrow Never Knows festival. The Parc Avenue songs were excellent in concert, and the new ones were promising.






The evening also featured opening sets by Canon Blue, Herman Dune and the local acoustic folk-rock trio Cloudbirds, who include former members of The M’s. (Cloudbirds are giving away their album online.)

Cloudbirds

Cloudbirds

Herman Dune

Herman Dune

Canon Blue
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Canon Blue

Secret Colours, Apteka and E+

The psychedelic Chicago band Secret Colours celebrated the release of its new EP with a show Jan. 7 at the Empty Bottle, with opening sets by a couple of cool Chicago bands: E+ is a new outfit featuring members of Disappears, Heavy Times and Verma. And the middle band in the lineup, fApteka, had the strongest set of the night, with an intense, swirling sound.

E+

Apteka

Apteka

Apteka

Apteka

Apteka

Secret Colours

Secret Colours

Secret Colours

Secret Colours

The Flat Five at the Hideout

I’m catching up on some recent concert photos — or not so recent, as the case may be. Here are some pictures from the Flat Five shows Dec. 18 at the Hideout. They were as wonderful as always.