By Joshua Hoyer
The Bourbon Theatre is turning out to be a top-notch venue that is bringing some truly interesting and talented acts to Lincoln. The sound and lighting provides for a true concert environment and booker, Jeremy Buckley, seems to have his pulse on America’s best and brightest musicians that play similarly-sized venues.
This early Sunday performance was no exception, as I was treated to another soulful experience at the new venue. Judging by their attentiveness and reactions, I am sure the 70 plus other people in attendance felt the same way.
This early Sunday performance was no exception, as I was treated to another soulful experience at the new venue. Judging by their attentiveness and reactions, I am sure the 70 plus other people in attendance felt the same way.
Bear Country
After being unable to figure out why a curious buzz was coming from the electric guitar, Bear Country started their set at 6:30pm. Never having seen this band before, I was first struck by their great harmonies. The smoky vocals of Susan Sanchez, Ray LaMontagne-esque vocals of Mike Schlesinger and the clean, tinny vocals of James Maakestad create a stirring mixture. And when placed over the instrumentation of upright bass, slide guitar and acoustic guitar the band creates a sound that is both reminiscent of the Appalachian Mountains and the desert plains of the wild west.
This is what I scribbled in my notebook as they played: sleepy Sunday afternoon, weeping willow, iced tea and a pistol- looking out over sad open spaces, filled with heartbreak and longing. For me, the strongest song of the set was a Michael Hurley cover. It seemed the band wasn’t really together at times and some of the arrangements weren’t as strong as they could be. Sunday afternoon shows can be tough, but that’s likely the result of a long weekend.
Darren Keen
This set of Darren Keen lyrics says it all: “You’re too cool to have fun. You try to tell me about rules. I know there are none.”
The band, consisting of Keen on guitar, Nick Semrad on keys and Jim Schroeder on drums, is definitely not too cool to have fun. Picture the humor and madness of a child somehow spawned by Woody Allen, Frank Zappa and Wavy Gravy, and you’ve got Darren Keen on stage. Interacting with the crowd, Keen gives a brief synopsis of what each song is about before they‘re played.
Performing songs about religion and hot food, taking LSD in Berlin, internet chat rooms, love for friends and family and doing drugs in a hot air balloon, he definitely keeps things interesting, yet still down to earth.
With no pretension and focusing on having a good time, the band set an atmosphere of fun for the rest of the evening. Keen also kindly asked the crowd to support Jason Lytle’s road fund, knowing just how hard it is on the road. Keen himself is taking a hiatus from his historically busy touring schedule. It will be good to have him around more often.
Jason Lytle
Having never heard Jason Lytle’s previous band, Grandaddy, I had no idea what to expect from his performance. It was a different kind of show, one where deep thought and emotion took center stage. For instance, instead of banter between songs, Jason Lytle plays a recording of himself playing haunting classical piano. And with an instrumentation of electric and acoustic guitar, drums and a peppering of synth, the band created a sound suggestive of Pink Floyd’s “Animals,” tinged with Neil Young, The Beatles and Radiohead. Lytle’s voice was gentle and airy and although I had difficulty understanding/ hearing the lyrics, I still believe I got the message: for a kind soul, it is a hard and sad world.
Throughout the set, the band moved in and out of light and dark moods, with brilliant chord changes and a great use of dynamics. One could describe their music as thick and breathing. One complaint may be that most of the songs are slower to mid tempo, making for a very melancholy, gentle performance. But I was taken aback by two songs specifically; the sadly beautiful “What Can’t Be Erased” and the dramatic, “I am Lost.” It seems as if Lytle is able to express the saddest human emotions in such a way that it stops time. And I have to admit, sometimes it made me feel bad--really bad. That is powerful songwriting.
Lytle apologized for the lack of low-end, having recently lost their bassist in Des Moines. However, the compositions were so strong that they pulled it off as a three-piece. Throughout the concert, there was a shifting of instruments that allowed the band to sway in and out of guitar, piano and synth-led songs. And they did it flawlessly. One song successfully juxtaposed roots rock with synth rock. This band has obviously spent their time wisely in listening and deciding what is essential to each song.
Lytle and the band seemed to be weary from a 2 month tour, which included a few dates opening for Neko Case. The crowd was obviously glad they made one last stop, and Lytle, in his gentle voice showed his appreciation.
“Thanks for being here on a Sunday,” he said. “I’d be at home, watching "First 48" (a show about inner-city murder). You know, something wholesome like that.”
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