Tag Archives: Colin Stetson

Bon Iver at Radio City Music Hall

Bon Iver at Radio City Music Hall, September 22, 2012 - Photo by Peter CauvelBon Iver recently did a four-night run at New York’s Radio City Music Hall. According to frontman Justin Vernon, the shows were the group’s last in America for a while.

On September 22, the final night, Poliça opened. Although loosely affiliated with Bon Iver (Ryan Olson and singer Channy Leaneagh were in Gayngs with Bon Iver’s Mike Noyce and Vernon. Noyce also appears on two tracks on their debut album), Poliça completely hold their own.

Poliça at Radio City Music Hall, September 22, 2012 - Photo by Peter CauvelThe entire live band, except Leaneagh, was a rhythm section — bassist Chris Bierden and drummers Ben Ivascu and Drew Christopherson (Olson acted as producer and does not perform with the group). They created the moody textures and rhythms to which Leaneagh supplied melodies. Similarly, Bierden, Ivascu and Christopherson all wore a gray-shirt-and-khaki uniform, while Leaneagh stuck out in a purple dress.

The cavernous Radio City Music Hall was awe-inspiring, but added a bit of a weird dynamic, especially for Poliça. Even though they played a great set, it was hard to engage a crowd in such a huge venue.

Bon Iver had no problem with it, though. Vernon and his massive band filled the stage and just as easily filled the room with their grandiose music. They spent the night intricately recreating the sounds of Bon Iver, Bon Iver and reworking a few songs from For Emma, Forever Ago. 

Early in the set, songs like “Perth” and “Holocene” were painstakingly modeled after the album versions. While the recreations of staggering beauty were most welcome, the new arrangements were the most enticing. A new “Creature Fear” with a magnificent trombone solo and bass saxophone parts from Colin Stetson and an electrified “Blood Bank” were not only surprises, but highlights of the show.

Bon Iver at Radio City Music Hall, September 22, 2012 - Photo by Peter CauvelThe set culminated with an extended version of “Beth/Rest,” the oddball soft rocker that has grown into a fan favorite, followed by two of For Emma‘s most beautiful tracks, “The Wolves (Act I and II)” and “For Emma,” with it’s trademark horn section echoing gently through the room.

Bon Iver may be winding down for the time being, but when they hit the road again in the future, it’s more than likely they’ll be carrying a few new arrangements.

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Top 20 of 2011: 1. Bon Iver – Bon Iver

1. Bon Iver – Bon Iver

Bon Iver - Bon IverSince the release of For Emma, Forever Ago and its follow up EP, Blood Bank, Justin Vernon has been doing just about everything but Bon Iver. He worked with Collections of Colonies of Bees as Volcano Choir, played a one-off with Peter Wolf Crier drummer Brian Moen as their old blues duo the Shouting Matches, made soft rock with Gayngs and even worked with Kanye West. He proved his versatility, but what was next for Bon Iver? After all that, could Vernon really go back and make another lonely solo record?

No. Instead, he enlisted the help of woodwind mastermind Colin Stetson, pedal steel guitarist Greg Leisz , saxophonist Michael Lewis and yMusic’s Rob Moose and CJ Camerieri to bulk up Bon Iver’s already-impressive live band — Sean Carey, Matt McCaughan and Mike Noyce.

The intensity of For Emma, Forever Ago might have been a fluke — Vernon, sick with mono after breaking up with his band and girlfriend, finds solace in his father’s cabin in the woods and records something perfect. But even without a romantic backstory, Bon Iver effortlessly recaptures the magic of Emma on a much larger scale.

I’ve had this pegged as “Album of the Year” since my first listen. It’s absolutely enchanting from the thunders of “Perth” to the Bruce Hornsby-based ballad “Beth/Rest.” Bon Iver is one of those rare records — much bigger than itself, but so personal and meaningful.

Top 20 of 2011: 11. Feist – Metals

11. Feist – Metals

Feist - MetalsFeist has written some incredible songs. Even beyond the massive, but impossible-to-hate “1,2,3,4,” her canon includes a score of impeccable songs like “Mushaboom,” “Limit to Your Love,” “I Feel It All” and “Gatekeeper.” Despite the number of great songs, her albums have always seemed to drag.

Metals is her first album that works beautifully as a whole. It’s dark, especially on the heels of the album featuring “1,2,3,4,” but it works perfectly.

Feist makes great use of her accompanying musicians. In addition to her longtime producers, Mocky and Chilly Gonzales (who also plays quite a bit on the album), she employed percussionist Dean Stone and keyboardist Brian LeBarton (Beck, Jamie Lidell).

Her core band tends to hide in the background, but other guest performers don’t. Broken Social Scene’s Evan Cranley plays euphonium and trombone, but Colin Stetson’s bass saxophone (in addition to his flute, baritone sax, tenor sax, trumpet and French horn) almost steals the show, adding dramatic undertones to the songs.

The other show-stopping guest is the Real Vocal String Quartet, an unusual group of women who sing while each plays her instrument. The warm strings and lush harmonies swell perfectly around the rest of the music.

Songs like “How Come You Never Go There” and “Graveyard,” while not as catchy as “1,2,3,4″ or “Mushaboom” are every bit as beautiful. While it might not give her a hit single, Metals is Feist’s strongest album yet.