Rob Zombie in Portland Hell on Earth Tour

Metal has really languished as a category over the past few years, as the heyday of metal has seemingly come and gone.   After the death of Dimebag Darryl from Pantera and Metallica's overly touchy feely "metal bands have relationship issues, too" docu-drama, the golden era of metal ended with both a bang and a wimper.

While metal may not enjoy the popularity it once had, loyal fans still head bang and spin around the mosh pit to their favorite band. As with a lot of other music genres, major acts come together and tour in shows that bring together some of the best bands in the genre for an evening of entertainment. Thus is the Hell on Earth Tour with Exodus, Rob Zombie, and Slayer, which made one of its final stops at the Memorial Coliseum. While the coliseum wasn't packed, the energy and enthusiasm of the crowd (especially for Slayer) made up for the less-than-full auditorium.

Opening act Exodus was a sonic assault (in a good way) from the start. With two base guitarists, lead guitarist, and drummer, Exodus pumped it out so hard that the coliseum shook to its foundation.  Exodus barely let up with their deep power chords, pounding beats, and shrieking vocals. Lead singer Rob Dukes tried to direct the crowd into an enormous mosh pit. The result was a whirlpool of people in the center of the coliseum.  After the standout performance of The Toxic Waltz, Dukes divided the floor into two, yelling, "I want everyone on this side to fucking kill everyone on that side. Hold…, hold…, hold…, GO!" The floor exploded.  It was a short but solid set from Exodus.

Next up was Rob Zombie who put on a set with probably the biggest use of fire I've seen in a concert. He began his set by emerging from a giant burning robot and never let up.  Zombie used almost every form of pyrotechnic possible, from fire jets, explosions, fireworks, pillars of fire – any and every way you could present fire.  All this fire was mixed with an array of video screens, including a strip across the front of the stage that Rob Zombie performed on.

Zombie has a unique sensibility that is decidedly cinematic.  His numbers are often backed by old horror flicks, Japanese anime, serial killers, and just odd imagery. Zombie also seems to love gigantic dancing robots and skeletons.  During More Human Than Human, a giant robot boogied on stage and a trio of Grim Reapers danced their way through several numbers.

Just when you think Rob Zombie has pulled out all the stops, he does more . On the standout number Pussy Liquor, the stage is covered in bubbles. Zombie's music ranges from the full throttle assault to a more southern twang infused metal. These two come together best in Thunder Kiss ’65, Rob Zombie's standout hit. Like most artists who have to play a song over and over and over for years, Rob Zombie didn't seem as enthusiastic about Thunder Kiss as he did some of his other songs, but it still was a high point of the night.  Zombie's set ended with his Werewolf Women of The SS trailer that he did for Grindhouse.

Compared to Rob Zombie's elaborate staging, Slayer seemed extremely stripped down. Instead of a wall of video screens, they were backed by a huge wall of amplifiers. Where Rob Zombie delivered visually, Slayer delivered sonically with a bone shaking assault. Rather than constantly interacting with the audience, like Rob Zombie did, Tom Araya only occasionally interrupted Slayer's wall of sound to briefly say a word or two to the audience.

Slayer quintessentially defines ultra hard rock with unbelievably fast beats and chords. They are considered one of the Big Four  thrash metal acts (along with Metallica, Megadeth, and Anthrax) who have defined the category. Slayer is the music that head banging was invented for. If heavy metal is long past its golden years, Slayer never got the memo. Playing as hard and fast as ever, Slayer barely paused during their set to take a breath.  It's almost unfathomable that a band that has been around this long could rock so hard and fast, and mind blowing that at 50, Tom Araya can still play and sing with the speed and intensity that he does.

There were a few standouts to the Slayer set, one being War Ensemble, which sounded so perfect and powerful live that it stands as the answer to the question 'why go see heavy metal live'.   The guitar work on Dead Skin Mask was also a real stand out, as the song shows off the real range of Slayer, and of course Raining Blood sounded as amazing as always. I'm always blown away that anyone can actually play Raining Blood as it's so fast and complex that it's a feat to see it performed.

I can understand why Metal Gods Slayer headlined the Hell on Earth Tour, but perhaps switching the order around and having Rob Zombie finish off the night may have been a better choice.  Musically, Slayer ruled the night, but Rob Zombie's stage show was beyond impressive.  Slayer's stripped down staging was prefect for them but suffered in contrast with Zombie.

In all it was a great night of entertainment, and a yelling, screaming, bone-shaking reminder that even though metal may not be in its golden age, it isn't dead yet.

I'm Britney, Bitch!

"I'm Britney, bitch." Yeah, but is that enough?

After a very full evening of entertainment, including a fantastic set by Nicki Minaj, I find myself wondering if a grand spectacle is reason enough to go see someone live in concert.

Nervo

The evening began with two cute blonde Australian girls who together make up the duo Nervo.  They spent twenty minutes behind a mixing deck, playing extremely well mixed songs.  The simplicity of the duo was a stark contrast to the absolute spectacle which would ultimately follow. It seemed odd to have a DJ duo open for such a major tour, but the two were so infectiously cute and happy that it was a delight to watch them as they spun.

The same unfortunately couldn't be said for Jessie and The Toy Boys, who thankfully only played for fifteen minutes. Jessie and The Toy Boys is a group of one blonde gal and two awkward dancers who painfully lip-synched to absolutely un-original and completely derivative music, with songs like "We Own The Night", "Money Makes The Girl Go" and "Push It".  The set was a little bit of a train wreck that had nothing to really anchor it.

Nicki Minaj

The evening really got going with Nicki Minaj, who took the stage and treated it like she was the headliner. Minaj's hour-long set traversed the wide range of musical styles that Nicki Minaj is capable of.  From the sharp rap in "Did It On'em" to the more lyrical and ballady "Save Me", Minaj showed her immense versatility. This versatility makes her a frequent collaborator of many of the top pop acts recording now (including Britney Spears, but we'll get to that later).  While Minaj is extremely strong on stage, there often feels like there's something missing.  On the song "Fly," we hear more of Rihanna pre-recorded than we do of Minaj, and the same is true for the Flo Rida / David Guetta song "Where Them Girls At".  But Nicki Minaj seems unfazed singing along to these tracks and manages to transition from these sing-alongs to songs where she is the main focus with ease.

On stage Nicki Minaj is absolutely dynamic. Her playful manner and bright smile permeate throughout all she does.  With her set she creates a futuristic world with an arch rival named Nemesis.  This theme is the glue between her songs and elevates her set to an 'experience' and not just a performance.  One of the things that is so impressive about Nicki Minaj is that she manages to throw down some serious raps without being so damn serious. There's a quiet confidence that she seems to have that elevates her rap and makes it much more fun and approachable.  This was most palpable with her performance of "Moment 4 Life" which really showcases her absolute raw talent.  She closed her set with "Super Bass", her current hit, which was extremely well received and showed her massive crossover potential. I doubt we'll see Nicki Minaj be an opener again – she's clearly destined to be a feature performer and destined for great success.

After Nicki Minaj's set there was a sizable break (a whopping 45 minute intermission), which ended up being a good thing as Minaj's set was so full that it would have been too much to then roll right into Britney Spears' set.

The Grand Spectacle of Britney Spears Femme Fatale Tour

Britney Spears Femme Fatale set started with a bang. Huge video screens showed high definition clips of Britney breaking out of prison and being chased by cops.  The production values of the clips were top notch and it built to a grand entrance by Britney who flew in on a platform (one of many times she'd be flown, wheeled, carted and pushed around the stage). Her opening number "Hold it Against Me" was a full-on assault of lights, smoke and sound.  This level of high octane staging and lighting would continue the entire set, and so would Britney Spears' lip-synching.

From a staging point of view, this song, like many which followed it, was outstanding.  With fifteen or so dancers, huge video screens which moved and shifted and more props than you could imagine being crammed into an evening of music, Britney's set was nothing short of a grand spectacle.  The only problem was that Britney wasn't much more than a prop herself.

Britney established herself over twelve years ago with a very specific 'jail bait' sexual brand that she has tried to maintain over the years. She managed to maintain this image through about 2003 (which came to an apex with her legendary kiss with Madonna  at the 2003 Video Music Awards).  In 2004 she got married (a couple of times), messed up her knee, and settled down to have a family.  Now in 2011, the person who used to be that young, sexy teen idol is gone, and what's in her place is a thirty year old mom who has been through a lot of personal trials and come out the other side.  Unfortunately Britney doesn't seem to quite embrace who she has become, and the result is difficult to watch.

One Unfortunate Costume, MILF Trying To Look Like A Teen

From jailbait, Britney has transitioned into MILF, but onstage she tries very hard to look, dance and move like she is still that younger version of herself. Her outfits are nothing short of unflattering and only enhance the womanly changes that time and having children will bring.  Britney is extremely stiff and stilted through many of her dance numbers, all of which seem to want to suggest something that's no longer there.  The toughest aspect of Britney's performance, though, is the pervasive lip synching that permeates almost every number of the show. The lip synching is so bad, at one point Britney mistakenly synchs the chorus of a song rather than the lead vocal.

Britney does actually sing for one song during her set, as she grabs a microphone and tries to belt out "Don't Let Me Be The Last To Know." It's an absolute train wreck of a song with Britney being slightly off key.

At this point you'd think the entire purpose of this review was to criticize Britney, but that's not so.  Rather than rooting against her, I found myself rooting for her, hoping that in the next number somehow she'd find her rhythm, or embrace who she now is, but in many ways that seems to be out of her hands. Britney spends most of the concert being carted around, lifted in the air or even carried. She seems like a prop because she's treated like one.  The producers of this spectacular show always seem to want to have Britney sit, perch or strap in to some sort of contraption.

As many issues as Britney has, the show itself somehow almost manages to transcend them.  Each song is supported by a stage show that is so wonderfully over the top, you can't help but be entranced. From lifting and spinning sections of the stage, to driving cars and motorcycles in for songs, the stakes for what could happen on stage kept getting bigger and bigger.  This was alway accompanied with lighting and video screens that were absolutely top notch.

With the song "Big Fat Bass," the integration between Britney and Will.I.Am (who appears and sings on high def video screens) was one of the best solutions to the common problem of songs that feature artists who simply can't be live in concert to sing along.  "Big Fat Bass" was an absolute high point of the show and hinted at what's possible when you artfully marry live performance with pre-recorded video.

Until The World Ends - 'Encore'

Also the 'encore' performance of "Till the World Ends" was a clear indication that Britney still has the capacity to produce clear hits and both captivate and engage an audience. The performance of "Till the World Ends" also showed everything that was wrong with the Femme Fatale Tour. The staging of "Till the World Ends" is so focused on flash and pyrotechnics that it completely misses the point of the song and the opportunity to really engage the audience. The song has a clear call to pull the live audience in and capture the magic of what live performance is about, but it so clearly misses it.  Then, what happens towards the end of the song is almost beyond belief. About three quarters through the song, Britney yells, "Remix, Nicki Minaj" and appropriately the crowd goes wild. Nicki Minaj then appears on the video screens behind Britney singing a pre-recorded video. What?! Huh?! Did we miss something? Wasn't Nicki Minaj just the opening act? How in the world can she not be brought on stage to sing the very thing that they are showing as pre-recorded?

And then it all becomes clear. The Britney Spears Femme Fatale Tour is not live music. It's not even really a concert. It's a very tightly controlled and highly scripted spectacle, starring Britney Spears (sort of). It's lots of lights, sounds and dancing to the pre-recorded track of Britney's music. And for some that may be enough. But it shouldn't be enough for Britney, who is clearly better than this. With "Till the World Ends" and to some extent "Hold It Against Me," Britney has shown that she still has more to offer musically, that she could embrace the fact that she's pushing thirty, been through hell and keeps on fighting. Instead, she allows herself to become a fairly stiff prop in a spectacle where she is nothing more than a bit player.

(photos courtesy of BritneySpears.com)

Jack Johnson at The Sleep Country Amphitheater

There's something magical about seeing a performer at the top of their game. It's an indescribable quality that permeates everything they do. For Jack Johnson, the To The Sea tour is a clear apex in his career. With several albums under his belt and some significant changes in his life along the way, Jack Johnson has made the transition from funky surfer guy to a full blown rock star. What makes Jack Johnson so special is that through all that transition, he has managed to maintain the core of who he is as an artist. Even while playing to a packed house at the Sleep Country Amphitheater, Johnson manages to make you feel like you're seeing him strumming his guitar on the beach after a long day of surfing. Being able to scale that kind of intimate performance is a difficult task and Johnson does it with ease.

When it comes to performing, you really can't fake heart and it was clear as Jack Johnson moved through his cannon of music that he loves what he does. Most artists build anticipation by saving their latest hit for the end of the concert, but Jack Johnson opened with it. As he sang You and Your Heart the crowd leapt to its feet and remained there singing and dancing throughout the concert. In many ways it was like Jack Johnson cared too much to make his audience wait to hear something they really wanted to hear, so he gave it to them right from the start.

His demonstrable love for the audience was repeated throughout the show as he stopped to dedicate a song to a father who had a little boy on his shoulders, or as he brought up opener G-Love to have the crowd sing happy birthday to him. But Johnson's true love that permeates almost everything he does is the ocean. Backed by a towering array of video screens, many of the songs were accompanied by video footage of the ocean and the natural world that surrounds it.

Johnson's love for the sea extends far beyond his music. In a move that is simply unheard of, Johnson donates 100% of the proceeds for the tour to charity through the All At Once Foundation. This foundation supports over 150 local non-profit groups which work for sustainable solutions to help clean rivers and oceans. Most artists who have such a deep commitment to a cause wear that cause on their sleeve. But Johnson, in his extremely cool and understated way, never preaches.  Instead, he talks with his actions and its honesty is a much stronger and inspiring way of supporting them.

Musically the Jack Johnson concert was perfect. Backed by a three piece band that included a bassist, drummer and pianist, Johnson sounded like a musician at the top of his game. His band echoed Johnson's comfort and easy with such a full sound you'd swear there were more people on stage. Of particular note was Zach Gill on piano, who played some of the best piano I've heard in concert in a while. Some of the real highlights of the evening were the wonderfully emotional Go On, some great freeform jamming with Good People, and the stripped-down love song Tomorrow Morning which Johnson hadn't played live in several years.

I really loved the contrast between the performance of Johnson's Tomorrow Morning, a sweet, quiet love long that he originally recorded on his girlfriend's answering machine, and Red Wine, Mistakes, Mythology, a full blown blues jam that highlights Jack Johnson's musical growth and progression.

As wide as the musical range of the Jack Johnson concert was the range in ages at the show. Johnson recorded Sing-A-Longs & Lullabies for the film Curious George in 2006 and that brought his music to a young audience. Those youngsters were peppered throughout the crowd along with their parents and even their grandparents. The rest of the crowd was an eclectic mix that spanned a wide range from twenties to fifties with people from many different circles of life.

It was a real treat to be able to see Jack Johnson at such an amazing point in his career and to see an artist performing for all the right reasons. It's hard to think how the concert could have been better – it was simply that good.

Arcade Fire in Portland

I saw Arcade Fire back in May 2007, the last time they came to Portland, at the Arlene Schnitzer Concert Hall. The venue was perfect, the sound was perfect and the band kept the audience engaged with almost every note. It was one of those magical nights that you always hope for but never can expect.

I saw the band again in September of that year, on the same tour, at the Hollywood Bowl. While I liked the show at the Hollywood Bowl, something got lost as it scaled to the big venue. Somehow the intimacy and magic present at the Schnitz was completely absent at the Hollywood Bowl.

Flash forward three years and Arcade Fire is simply on fire. They went from one of the biggest buzz bands around to one of the top bands performing. For The Suburbs tour, this necessitated a move to bigger venues and larger arenas for their shows.

Acutely aware of the issues with scaling their shows, Arcade Fire drummer Jeremy Gara admitted to fears to NME that the band wouldn't "connect" with fans when they play big arenas. This combined with the fact that the Portland stop on their tour was booked at the Memorial Coliseum made me a little hesitant about seeing their show. The Coliseum isn't Portland's best venue (the best happens to be the Schnitzer) and it can really have significant acoustical problems.

Given how good the band was the last time around and how good their new album "The Suburbs" is, I decided I absolutely had to give it a try.

As the staging was unveiled it lacked the huge LED High Def screens common on most arena tours. Instead there was a modest square video screen backed by an expansive mural depicting the concrete overpasses associated with urban sprawl.

From the opening note of the show, which was appropriately enough the song Ready To Start, it was clear that Arcade Fire had left any of their concerns about connecting with the audience behind. Performed live, Ready To Start really captured the best of Arcade Fire and showed that they have clearly matured from a band unable to handle big arenas to one that could easily master them.

Arcade Fire's Stage Show Scaled To The Arena

Ready To Start was followed by Month of May which took this very strong opening and built on it. Month of May has some strong rock and punk elements to it and it showcases Arcade Fire's range. Following this up with Neighborhood #2 (Laika) really highlighted the punk and indie aspects of the song and showed a nice congruity between Funeral, the band's first full album, and The Suburbs, the band's newest album.

While the band did very little talking between the numbers, Win Butler did quickly step up to the mic between songs to comment, "It's dangerous to come to Portland when the sun is out. It makes you think you could almost live here".

The band continued on with a rendition of No Cars Go, which was especially good. One of the things I really liked about it was that it featured some great harmonization among the members of the band. The entire night these eight musicians worked as one and it really showed on this song.

Régine Chassagne Arcade Fire

Part of that unity was shown when Win Butler stepped back from the lead mic and handed it over to Régine Chassagne. While Butler is clearly exceptionally talented as a lead singer, I think his ability to step back and be part of the rest of the band is extraordinary.

With the song Haïti, Régine was slightly overwhelmed by the sound of the band; this was less due to her performance and more to the acoustics of the coliseum, one of the only points where it was an issue. The sound wasn't an issue at all for Sprawl II (Mountains Beyond Mountains) which performed live represents some of Régine's best work. The song really comes alive. Many of the songs performed from The Suburbs worked better live in a big arena than those from Funeral or Neon Bible. The album simply scales better. However, I appreciated how the band weaved the songs from their different albums together into a singular, cohesive, emotional musical journey.

The emotional notes from Sprawl II seamlessly lead to those in Crown of Love and then onto Modern Man, which is one of my favorite Arcade Fire songs performed live. Modern Man showed off everything that's really matured with Arcade Fire including their confidence in their sound and their ability to perform their songs live. It's one of their more laid back songs but I think that comes from a real trust in their material, the band, and their sound.

Arcade Fire Win Butler's Emotional Intensity

If Modern Man was a highlight musically, Rococo validated the band's decision on their stage show. At the start of the concert I really wondered if they had underdone the video and light support, but with Rococo all the elements came together in a hauntingly brilliant performance. Rococo was performed with pitch-perfect emotional intensity combined with fantastic lighting and video mixing both on the center screen and on the backdrop. You simply couldn't ask for more. This song was the absolute highlight of the evening.

From there the show continued with the title track from The Suburbs, which again had the band coming together as a whole. Seamlessly transitioning from album to album, The Suburbs was followed by Ocean of Noise which featured fantastic play with levels of sound. At one point the room was almost silent with Win Butler quietly singing some lyrics, which built to a huge crescendo which had two members from the opening band, Calexico, playing bright, loud trumpet.

From loud and high, the mood dipped low with the start of Neighborhood #1 (Tunnels) only to build back up. As with the show back in 2007, the audience followed every single note. It was clear that Arcade Fire has mastered the ability to take what was special and magical in a small venue and bring it to a big arena show. This fact was so apparent that Win Butler took the mic and said, "We used to feel funny about playing big rooms but now we're really happy that everyone who wants to see us can see us". It was a triumphant declaration given their pre-tour intrepidation.

Arcade Fire

This was followed by Intervention, which picked up the emotional theme of the evening and delivered it to We Used To Wait, which sort of felt like a thematic finale. The online video from We Used to Wait is one of the most amazing videos I've ever experienced and I was disappointed that Arcade Fire didn't integrate elements from the video into the live performance of the show. During the video the viewer gets a chance to write a note, and there was a sense that some of these notes would be used during the concert, but they weren't. Having said all that, the band's performance of the song was simply incredible. Win Butler and company are the real deal and, upon hearing We Used To Wait, I was aware that I was listening to the kind of band which will be reflected back on for years and years to come.

With We Used to Wait wrapping up some of the emotional themes from The Suburbs, what followed was a mini greatest hits with Neighborhood #3 (Power Out). If you ever had doubts about Arcade Fire being able to play an arena show, the performance of Neighborhood #3 (Power Out) would quickly put that to rest.

The finale of the evening was Rebellion (Lies) which was a massive exclamation point to the show.

Arcade Fire came back for an encore with Keep the Car Running, which had the band going all out, and Wake Up, which had the entire crowd singing along.

There have been many times in my life where I've shied away from seeing an amazing band in an arena tour after seeing them perform an amazing small venue show. Arcade Fire is one of those rare bands that is able to capture the magic of a small venue show and combine it with the magic of an arena show. They bring such amazing musical craftsmanship, band unity and emotional intensity to their work that their shows are simply not to be missed.

I almost made the mistakte of missing Arcade Fire because I worried about bad acoustics and the possibility that they wouldn't be able to scale. I'll never make that mistake again. The next time Arcade Fire comes around, no matter where they play, I'll be there.

Arcade Fire Performed at the Portland Memorial Coliseum on September 30th, 2010. Here is the complete set list.

Here are the full images of Arcade Fire by Lee Barth:

[Show as slideshow]

American Idol 2010 Tour

The 2010 American Idol tour made one of its final stops in its national tour with a very clear message: what happens on the series isn't always reflected when the show is translated onto the big stage.  For some like Andrew Garcia or Big Mike Lynche, this leads to significant disappointments, but for Casey James, Tim Urban and Aaron Kelly it was a tremendous opportunity to show what kind of artists they really are.

The 2010 American Idol series has often been criticized as a weaker season than many of its predecessors.  The truth is the Adam Lambert v. Kris Allen battle is a tremendously tough act to follow. But as a whole, this year's American Idol Tour was actually stronger than last year's, with better production values and some great surprises from some of the underdog performers.

The evening started out pretty well with Didi Benami, who did a solid job with ”Lay It On Me” by The Rescues. It was much stronger than other performers who've made it into the top 10 right on the cusp. Her rendition of “Terrified” by Katharine McPhee was simply fantastic. For a moment Didi really showed the talent that got her into the top 10 and made a strong argument that she probably should have finished higher.  "Terrified" was one of the real great moments of the show.

Perhaps the evening's biggest disappointment was Andrew Garcia, whose creative arrangement of “Straight Up” by Paula Abdul secured hin a spot on the show, but proved to be more of a fluke than a real moment of inspiration.  On stage Garcia's "Straight Up" felt forced and lifeless, devoid of any magic it may have had.  His rendition of “Sunday Morning” by Maroon 5 felt like an opening act as Garcia failed to create much stage presence. For a fairly big guy, Garcia seemed awfully small on stage and clearly out of his league.

Also out of her element, Katie Stevens had a really uneven set.  Singing “Here We Go Again” by Demi Lovato, Katie Stevens seemed like she was trying to play teenage pop star (right down to the lace finger gloves).  Her rendition of “Fighter” by Christina Aguilera was signficantly better as she seems to really thrive when she's singing in a fuller and deeper register.  As I watched her perform, it struck me that perhaps Katie Stevens would have had a better route to performing as a backup singer for one of the major touring acts. She's got a great voice and some charisma but seems to really need to grow into it.  Getting some experience with some heavy hitters may do her good, but as a Top 10 American Idol finalist it's hard to imagine her doing backup.

Tim Urban

Tim Urban seemed to have a fair share of detractors during the run of the show. He certainly wasn't a judge favorite, but on stage he showed that he has what it takes to really stand out.  His first song, “Better Days” by Goo Goo Dolls, was extremely solid and showed off Tim Urban's magnetism. Urban effortlessly connected with the audience and seemed right at home on stage. His second song, "Viva La Vida” by Coldplay, didn't go as well. Urban wanted to turn the song into a sing-along, but it wasn't the right song for the crowd to sing along. This lead to a real disconnect and seemed to leave Urban kind of lost in the song.

Siobhan Magnus made one of the biggest entrances of the night. Sporting a faux-hawk, corset and boots, she looked the most 'rock star' of the bunch. Unfortunately Siobhan's set was extremely choppy.  She bounced between vocal styles and almost always landed on her patented scream, but the pieces never really fit together. Sure, it was great to hear her hit the high note at the end of "Paint it Black” by The Rolling Stones, but the journey to get there was a pretty rough ride. “Spiderwebs” by No Doubt was even more of a stylistic train wreck. Every time it seemed like she settled into the song, she'd switch her vocal style and the proverbial wheels would come off the tracks. The one song I really enjoyed was her rendition of “Stockholm Syndrome” by Muse; unfortunately, the real star of that song was the backup band, who absolutely let loose on the song.  I enjoy Siobhan's quirkiness and love hearing her hit that high note, but she doesn't seem to have a real musical home or style that works.  Perhaps she'd do well in a metal band using mostly her high register (something akin to Evanescence).

While I'm not a huge fan of Aaron Kelly, he had one of the more solid sets of the evening. From the first note to the last, Kelly clearly declared "I am a country boy!". Much more confident than during the TV series, Kelly did a fantastic job with “Somebody Like You” by Keith Urban. Dressed in blue jeans and a white t-shirt, Aaron both looked and sounded the part and his performance really seemed to resonate with the crowd. Kelly followed up with “Walking In Memphis” by Marc Cohn and then “Fast Cars and Freedom” by Rascal Flatts – all in all a solid set and convincing argument that he has what it takes to become a country music star.

Aaron Kelly was followed by a group number with the first five performers: Didi, Andrew, Katie, Tim, Siobhan, and Aaron, singing “The Climb” by Miley Cyrus. It was refreshing to see a group number that wasn't lip-synched (which was one of my biggest gripes about the TV series).  Katie seemed much stronger with the vocals of "The Climb" and Aaron took the lead and showed he really has what it takes to step out front.

After an intermission (where we were bombarded with advertising), Michael (Big Mike) Lynche took the stage. Big Mike's rendition of  “Woman’s Work” by Kate Bush was one of the show stoppers during the series but on stage it really lost its magic. Big Mike showed that the moment on the show couldn't be recreated, and like Andrew Garcia's "Straight Up", it was a one shot deal. Big Mike followed up with “Ready For Love” by India.arie, which was a much better performance that captured his true croning abilities.  Unfortunately his closing song, "My Love" by Justin Timberlake, was an absolute disaster. Big Mike started out in falsetto (which simply didn't work), jumped into his normal register, and then tried to rap. It was absolutely painful to watch.

The highlight of the evening was Casey James, who stole the show out from under Crystal Bowersox and Lee Dewyze. His rendition of  “I Got Mine” by the Black Keys was simply amazing, showing off extraordinary guitar skills. All  I could think of during this first song was, "Damn, this boy can really play guitar". Casey James' "I Got Mine" was the real first exclamation point of the evening.  This was followed by “Don’t” by Shania Twain, which was a great example of an artists making a song his own. It was at this point that it stopped feeling like an American Idol Tour and started feeling like the Casey James show.

Casey brought Big Mike back on stage for a nice rendition of  “Have You Really Loved a Woman”. Mike's performance with Casey was stronger than any of his own three songs and it was nice to see the two of them sing together.  The real highlight of Casey's set was “It’s All Over Now” by The Rolling Stones, the hands-down best performed song of the evening.  Casey played a terrific slide guitar and made it clear that he is the best guitarist to have ever performed on American Idol. By the end of the song it was easy to forget that it wasn't an original song – a monstrous task considering its origin.

Crystal Bowersox Lost on Stage

Crowd-favorite Crystal Bowersox had the impossible task of following Casey James, and although she sounded great, she was never quite able to surpass Casey's set.  Dressed extremely casually, Bowersox seemed extremely comfortable on stage, almost too comfortable and informal. Although she has a great voice, there was always something missing from her performance.  Her rendition of “What’s Up” by 4 Non Blonds felt passionless and uninspired.  She warmed up a little with “Come To My Window” by Melissa Etheridge, which sounded fantastic, but the follow-up song, “Up To The Mountain” by Patty Griffin, felt limp and weak.  Bowersox seemed so laid back during her performance it seemed more like watching someone sing in a recording studio than on stage. It completely lacked any form of showmanship whatsoever. Bowersox closed with "Piece of My Heart" by Janis Joplin, which again sounded great but really lacked any pizzaz and certainly wasn't strong enough of a performance to argue that she should or could have won American Idol.

Lee Dewyze: Winner But Not Champion

I had really hoped that Lee Dewyze would be able to step in and really pick things up, but his set felt almost as "also ran" as Bowersox. He's opening song, "Beautiful Day” by U2, never really came together and lacked any of the spark that was there when he performed it on the show.  Appreciably better was Dewyze's rendition of  “Rocket Man” by Elton John, an extremely solid rendition of the song which really breathed new life into it.  Dewyze's high point was definitely  “Hallelujah” by Leonard Cohen. Dewyze seems to have really connected with the soul of Leonard Cohen's hauntingly beautiful song and he was able to replicate that for the big stage.  Unfortunately this was followed up by  “Treat Her Like a Lady” by Cornelius Brothers and Sister Rose, which was just okay. Dewyze closed with "Use Somebody” by Kings of Leon, which came off a lot like "Kings of Leon Light". It just wasn't a strong enough to close on and it never really felt like Dewyze was able to make any form of declaration of being the champ.  Lee Dewyze seems like a really great guy, he sings well and seems to genuinely enjoy being on stage, but he doesn't really offer enough to be a real headlining act. He reminds me a lot of David Cook and I think he'll have a similar career path.

The evening ended on a real low note with a very short medley of  “It’s My Life” by Bon Jovi sung by the men and “My Life Would Suck Without You” by Kelly Clarkson sung by the women with the men joining in at the end.  Throughout the series, the group numbers were almost always lip-synched and it seems like there was a good reason to do that – the group's chemistry isn't quite there and the sum is much worse than its parts.

It's always exciting to see how American Idol translates from the bubble universe of the TV series onto the arena stage. This year's production had its highs and lows, but on balance was a better show than last year's show. With better production values, a much better back-up band, and a stronger flow, the 2010 American Idol Tour was quite enjoyable. The big high point of the evening was Casey James, who I'd absolutely go see in concert again.

Sting Symphonicity Orchestra Concert

I wasn't really planning on seeing Sting on his current tour. After a ho-hum show a few years back at the Rose Garden, I decided that perhaps the best shows for Sting were behind him. I find it extremely difficult to watch some of my favorite performers from my childhood struggle to try to recapture a spark they have lost. Musically, there's almost nothing worse than listening to a song you love, sung by someone you used to love hear singing it, and having it sound like someone doing a karaoke version of their own song.

I'm extremely grateful that I ended up seeing Sting in his latest tour "Symphonicity" on its first US stop in Portland, Oregon. Not only was Sting's Symphonicity show a fantastic musical experience, it was a rare opportunity to see an extremely accomplished performer celebrate his work in a way that enhanced the memory of it rather than denigrate it.

Backed by the Royal Philharmonic Orchestra, Sting seemed to be right at home on stage with 48 other musicians. Sting has always been attracted to great music and musicians, from the mad genius of Stewart Copeland in The Police, Branford Marsalis in Bring on The Night, and more recently Chris Botti. Playing with talented people always seems to elevate Sting's performance.

There was a lot for Sting to draw from with the Royal Philharmonic Orchestra, expertly conducted by Steven Mercurio. Sting adapted the arrangements of many of his iconic songs for the orchestra and they did a superb job of accompanying him. Not all adaptations were a home run, however. Message in A Bottle lost its sense of loneliness and longing, Next to You felt like someone trying to force a rock sound out of an orchestra, and Whenever I Say Your Name was an utter train wreck. But when things worked, they really worked.

Songs from Sting's Ten Summoner's Tales album adapted extremely well for an orchestra. If I Ever Lose My Faith in You, the opening song, sounded fantastically full, Fields of Gold got some great texture, and Shape of My Heart became more dramatic with symphonic exclamations.

With such a strong orchestral accompaniment, Sting's backup vocalist, Jo Lawry, got pretty lost in the shuffle. The duet I Say Your Name, originally performed with Mary J. Blige, came off poorly, and the chorus for When We Dance was muted and stripped down to accommodate Lawry's voice. The only place she really shined was on You Will Be My Ain True Love, a song Sting wrote for the motion picture Cold Mountain (originally recorded by Alison Krauss). Even there, her voice didn't quite mesh with with Sting.

Steven Mercurio and Sting

With Symphonicity, Sting's greatest on-stage collaborator was really conductor Steven Mercurio. It was extremely clear that Mercurio 'got it' – his conducting was animated, dramatic and just plain fun. For some this concert may be an introduction to seeing an orchestra live, and I couldn't think of a better introduction than Mercurio.

Sting has had a pretty diverse musical journey throughout his career, from his pure rock days with The Police, his ballad-focused solo work, jazzy Bring On The Night, and even country I Hung My Head (which was ultimately recorded by Johnny Cash before his death). Rather than just making Symphonicity an evening of Sting's greatest hits, Sting drew from all the corners of his musical cannon in a celebration of the breadth of his work. Songs like Tomorrow We'll See and End of The Game fit between classics like Moon Over Bourbon Street and King of Pain, and Hung My Head and You Will Be My Ain True Love syncopated with Shape of My Heart and Mad About You.

One of the things I loved the most about Symphonicity was the absolute pure clarity of sound. Sting's voice was exceptional. He effortlessly hit the high notes on Roxanne while still maintaining a strong soft and quiet voice on A Thousand Years. The orchestra also sounded fantastic, from the dramatic orchestration for Moon Over Bourbon Street and Russians, to the softer Why Should I Cry For You and Fields of Gold, The Royal Philharmonic had a richness and depth of sound that was simply spectacular.

The absolute high point of the show for me was King of Pain. It was the moment that all the elements came together perfectly – a classic Police song, sung exactingly by Sting, and sonically expanded by the orchestra. It was the absolute 'a-ha' moment of the show and the moment I knew I would have deeply regretted missing Symphonicity.

Sting

With fairly high ticket prices, some may accuse Sting of using Symphonicity to 'cash in'. I've seen Sting phone it in before and he isn't doing that here. Sting delivered over three hours of top level performance backed by one of the better orchestras I've seen on stage, all of which are more than enough to justify paying the ticket price.  Rearranging these songs for the orchestra has breathed some new life and energy into Sting's work and Sting seemed really invigorated by it. If you are a fan of Sting, this is the tour you absolutely should not miss.

Here's the setlist from the June 4th Sting Symphonicity show at the Schnitzer Concert Hall in Portland, Oregon:

Lose My Faith
Englishman in New York
Every Litte Thing She Does Is Magic
Roxanne
Straight To My Heart
Russians
Fields of Gold
I Hung MY Head
Shape of My Heart
Why Should I Cry For You
Whenever I Say Your Name
When We Dance
Message in A Bottle
Next to You

20 min intermission

A Thousand Years
Tomorrow We'll See
Moon Over Bourbon Street
The End of The Game
My Ain True Love
All Would Envy
Mad About You
Ghost Story
King of Pain
Every Breath You Take

Encore
Desert Rose
She's Too Good For Me
Fragile
I Was Brought To My Senses (acapella)

Sting performs again in Portland on June 5th in Portland and then: June 9 at Red Rocks in Denver; June 15 at the Hollywood Bowl in Los Angeles; July 17 and 18 at Chicago’s renowned Ravinia Festival. Sting will also perform in New York, Boston, Dallas, Houston, Philadelphia, Portland, Seattle and Washington and return to Canada, with stops in Toronto and Montreal. Tickets can be purchased at Live Nation.

Michael Bublé Concert Portland

A lot of performers have put on a suit, stepped up to the mic and made an attempt at the gold standards. It's an alluring cannon of music which instantly resonates with a huge number of music fans. The problem, though, when you sing classic songs is that it's nearly impossible for people not to compare you and your performance to the great performers who originated them.

Michael Bublé seems acutely aware of this fact and the range of his voice, and he uses the music and style of Sinatra, Nat King Cole and even more contemporary artists as a jumping off point for his own unique sound and style. While Bublé has a very strong voice he doesn't have the same lower register / golden throat that gave Sinatra's music those well-rounded, sweet lower tones. Bublé seems to acknowledge this and intelligently navigates his way thought the best-fitting Sinatra songs for his register, including "I've Got The World On A String" and "All of Me" which feature big high notes that Bublé can hit with ease.

While Bublé may not have the same vocal depth of someone like Frank Sinatra, he does have an extraordinary talent for showmanship. It would be easy for a good looking, well-dressed crooner to have an ego to match, but Bublé remains humble and emotionally honest on stage.

At one point in the show Michael Bublé stopped to address the men who had been dragged by their significant others to the concert, musing that they must be thinking, "Oh my God, he's so gay!" (and then following it up with talk of his engagement to Argentinean actress Luisana Loreley Lopilato de la Torre).

Bublé often poked fun at himself and at one point during the show quipped, "I'm just doing what you do in the shower – they're just paying me to do it." Bublé is simply charming and the sold-out crowd at the Rose Garden (on April 2nd, in Portland, Oregon)  acknowledged it with every step. Thirty and 40-something year old women screamed and swooned – albeit in a lower key – like teenage girls screaming at a Jonas Brother's concert.

The truth is, you don't have to be a Michael Bublé fan to love his concert. It's not a pre-requisite. Bublé puts on such a fantastic and intimate show that he's sure to win over even the guys who get dragged along to see him. "Concerts are boring!", exclaimed Bublé during one of many interlude talks with the audience. "If you just wanted to hear my music you could stay home and listen to the CD. This is your show and you should have fun".

Sliding across the slanted marble stage, Bublé always looked like he was having a good time. He has an infectious energy that lights up whatever he sings. One of my favorite moments in the show was when Bublé sat at the piano and sang the song "Best of Me", originally done by David Foster and Olivia Newton-John. Bublé spoke about going through a tough point in his life and how the song really resonated with him during that time. I don't think I've seen a more emotionally honest performance in my life. Bublé made every word of the song sound like it emanated from a deep place within, and at the end of it, when the lights went down, he wiped his eyes.

This touching moment was followed up by one of the most odd and funny moments of the show. As Bublé got up, the band started to play Steve Wonder's "For Once in My Life". Bublé shot a look at his musical director and partner Alan Chang and then started to work his way through the song. About a minute into it he asked the orchestra to stop and then broke into laughter. "You see, on my copy of the set list, the next song is 'Georgia on My Mind' ". It was a very real moment that fit well with this very alive concert. After switching over to "Georgia on My Mind", Bublé and company gave another shot at "For Once in My Life" which had an air of spunkiness and humor that was quite fun.

One of the things I really appreciated about Michael Bublé's show was his treatment of his own original hits. None of them felt tired or overplayed and he brought as much enthusiasm to "Haven't Met You Yet" as he did to some of the classics he sang. Bublé closed the show with what seems to be his signature closing song, "A Song For You," made popular by Donny Hathaway. The final refrain of the song Bublé performed in front of the closed curtain without a mic. It was a very nice nod to the classic performers who didn't always perform with amplification, and it showed that while he may not have Sinatra's golden throat, that boy can sing.

Michael Bublé Set List:
Cry Me A River by Arthur Hamilton
All of Me (Frank Sinatra) by Gerald Marks and Seymour Simons
At This Moment by Billy Vera & The Beaters
Smile by Nat King Cole
Everything by Michael Bublé
Orchestral Number/Jam
I've Got The World On A String by Frank Sinatra
Best Of Me by David Foster and Olivia Newton John
For Once In My Life by Stevie Wonder (Sang about 1 min and then stopped)
Georgia on My Mind by Ray Charles
For Once In My Life by Stevie Wonder
Billy Jean by Michael Jackson (abbreviated version)
Twist and Shout (Ferris Bueller's Day Off) by The Isley Brothers
Home by Michael Bublé (Acoustic Guitar)
Save the Last Dance for Me by The Drifters
How Sweet It Is (To Be Loved By You) by James Taylor
Heartache Tonight by Eagles
Haven't Met You Yet by Michael Bublé

Encore
Feeling Good lyrics by Nina Simone
Me and Mrs Jones by Billy Paul
A Song for You by Leon Russel (Donny Hathaway)

Concert Running Time 1 hour and 40 mins with encore.

Honor Society in Portland

What thin line divides a band like Honor Society from the The Jonas Brothers? Why is Miley Cirus selling out stadiums while Esmee Denters plays to a crowd of just a few hundred? Musically you could stand Esmee Denters single "Outta Here" and Honor Society "Over You" against the songs from either the Jonas Brothers or Miley Cirus's, but in the business of big pop bands, music is only part of the equation.

Both Esmee Denters and Honor Society got their breaks through various social networks. Esmee was discovered doing covers of her favorite songs on YouTube while Honor Society found their following via MySpace. As they played to a small but devoted following, many of the teens in the crowd sang along to almost every word of every song. As Esmee finished her set, she stopped and took a picture of the crowd to post on her twitter account (@esmeeworld). Honor Society spent more time after their show meeting their fans than they did playing to them. This kind of personal connection between artist and fan is something that's being taken to an entirely new level. But it is enough?

Esmee Denters in Portland

Esmee's opening set was short, sweet, and slightfully soulful. Touching on some of her most notable work, including "Outta Here", Esmee showed the advantages of texture and range for a female pop performer. Her music was a nice bridge between the bubblegum pop tunes of a Hannah Montana and a more soulful pop star like Joss Stone. Unfortunately her cover of Ne-Yo's "Closer" felt more like something out of American Idol than something from a teen pop idol. Esmee did ultinately show off her talent and inventiveness with a reinvisioning of the classic song "I Only Have Eyes For You", a nice fusion of classic sounds with a modern beat. Esmee returned to the stage mid way through Honor Soceity's set to do a duet which I also liked.

Honor Soceity at The Hawthorne Theater

I had previously seen Honor Society as one of the opening bands when The Jonas Brothers played The Rose Garden. Although the crowd at the Hawthorne Theater was about 1% of that when they played the Rose Garden, Honor Society brought the same high level stadium intensity and performance. Playing songs from their new album "Fashionably Late", Honor Society had a few stand out songs, any of which could carry them onward to bigger and better spaces. Of particular note is the bonus track from the album "Where Are You Now", their current single "Over You" and the song that brought them into radio airplay "See You in The Dark". As with Esmee Denters music there was a clear line between the Honor Society songs that hit their mark and the ones that missed, but in this era of iTunes and digital downloads a few strong songs seems to hold more weight over a one solid album.

Honor Society's Michael Bruno

The only real low point of the evening came at the end of the concert. In this little club with no more than 150 people, Honor Society set up a paid meet and greet. Rather than work to build their fan base they took the opportunity to charge their fans to buy a wrist band that gave them the privilege to meet the band and have them sign autographs. All this took place three feet from the stage in the already tiny club. What's worse is that they issued two different colored wristbands, one for the members of their fan club and another for people who weren't. The entire thing was both odd, uncomfortable and completely out of place in the club atmosphere.

If you need proof that the music industry is in an entirely odd space, look no further than the Esmee Denters and Honor Society club tour.  Both bands seem to have all the essential elements of a big pop tour and yet it was booked into a small club with very little promotion. Which brings me back to my initial question: What is it really that separates the mega-pop bands from bands like these? Because in this case the answer doesn't seem to be MySpace, YouTube and Twitter.

Here's a video from the concert of Honor Society performing "See You in The Dark":

For more information on Honor Society see:

• Honor Society Interview
• Official Honor Society Site
• Honor Society Fan Site
• Honor Society on Myspace (including the single "See You In The Dark")

For more information on Esmee Denters see:

• Esmee World
• @esmeeworld on Twitter
• Esmee Denters on Youtube

A contemplative Yoda onscreen over the orchestra during Star Wars™: In Concert.

Everything about Star Wars in Concert is done on an epic scale. An 86 piece orchestra is combined with a huge choir and backed by a 100-foot LED high-def screen, which is one of the largest, clearest high-def screens I've ever seen. The massive screen is surrounded by three other textured screens which envelope the entire back of the stage. This all is combined with a dizzying array of lighting and special effects which include full stadium lasers, smoke, huge fire and steam jets, providing some explosive exclamation points to the music.

The show opened appropriately enough with "Star Wars (Main Theme)", the iconic piece which filled the Rose Garden with a palpable excitement. The crowd roared and cheered throughout the song. It was an amazing experience to hear a stadium full of people respond so enthusiastically to a piece of orchestral music. This is part of the magic of Star Wars in Concert, behind all the flash of all the staging, the real star of the evening was John Williams's legendary score.

Yoda brandishes a light sabre onscreen over the orchestra during one of the musical segments of Star Wars™: In Concert.

As the orchestra played, montages of clips from the Star Wars Saga were projected on the huge screens behind them. I've never seen these films look better; the crisp clarity, the deep color, even footage from the original series is literally jaw dropping. Seeing the films presented this way really accentuated the fact that the Star Wars Saga still isn't available in Blu-Ray. I really hope that Lucasfilm will piggy back the excitement of this tour with a high-def release. The film montages combined clips from all six Star Wars movies (including original character concept drawings), often interspersing segments from the original series with the three prequels. The occasional clip had the sound from the film, usually featuring one of the many legendary quotes.

For the hardcore Star Wars fan I'm sad to report that the footage from the original Star Wars trilogy is the revised footage from the special edition releases (including things like the new approach to Mos Eisley Cantina). Also you'll probably cringe when you see Han Solo and Greedo in their cantina duel and realize that Lucas is standing strong with Greedo now shooting first (for more on this see Han Shot First). But these minute details are easily forgiven, contexted in the absolute Star Wars love fest that is Star Wars in Concert.

Actor Anthony Daniels narrates a portion of the story from the films onstage during Star Wars™: In Concert.

After the theme song came to an end and the crowd finished their uproarious applause, Anthony Daniels (who played C3PO) was introduced. Daniels immediately began narrating the over-arching story of Star Wars, not as if it were some fairytale or fiction, but as if it were a real story with real people. Daniels was the perfect choice for this role, as his humor and enthusiasm provided the connecting point between the audience, the orchestra and the clips from the movie. While Daniels's narration is infused with the occasional quip, it never droned on too long and was never cheesy.

STAR WARS: Episode V – The Empire Strikes Back key art onscreen during Star Wars™: In Concert.

STAR WARS: Episode V - The Empire Strikes Back key art onscreen during Star Wars™: In Concert.

Each number of the evening was accompanied by a themed segment looking at each aspect of the Star Wars Saga including the story of Anakin and his transformation into Darth Vader, Pod Racing, Droids, Luke and Leia, Yoda, The Death Star, The Rebel Alliance triumph over the Empire, and Vader's redemption. I really enjoyed how each segment focused on a specific aspect of the saga. Pulling some of these themes out of the context of the individual films enables them to be viewed from a new perspective. I especially enjoyed the segment on Luke Skywalker and Princess Leia. It's a really nice portrait of their relationship across the original trilogy films and seeing their relationship chronicled in this way really gave me a new appreciation for it. The biggest benefactors of this style of presentation are the three prequels. Divorced from some of their baggage they really shine. I found a real sense of fondness for the core story from the prequels, which was both a surprise and a delight.

C-3PO onscreen with lights and lasers during Star Wars™: In Concert.

With so much to experience on the gigantic high-def screen, it's easy to overlook the phenomenal performance of the orchestra and conductor Dirk Brosse, who tackles the monstrous task of performing music so ingrained in the audience's mind that even the slightest deviance would be noted. Brosse does an exceptional job conducting a pitch perfect orchestra with an extraordinary level of comfort and ease. Brosse was never showy and seemed dedicated to presenting the orchestration that really honored John Williams's score. His work was a real partnership with the video segments and Daniels's narration and the three elements worked in perfect harmony, a real credit to Brosse's talent.

I really can't imagine a better tribute to the Star Wars Saga than Star Wars in Concert. It's an event which can be equally enjoyed by fans of the series both old and young. The fact that it can draw so many people to come together to celebrate and enjoy classical orchestral music is simply amazing. The Star Wars series and John Williams's score both deserve to be celebrated and Star Wars in Concert is the most profound celebration possible. I highly recommend the Star Wars in Concert tour and hope that it will return to Portland again in the future, because I would absolutely go see it again.

Here is the formal Star Wars in Concert Set list:

Star Wars (Main Title)
Duel of the Fates
Anakin's Theme
Moisture Farm
The Flag Parade
Across the Stars
Battle of the Heroes
The Imperial March (Darth Vader's Theme)

INTERMISSION

The Asteroid Field
Princess Leia's Theme
Tales of a Jedi Knight
Cantina Band
Yoda's Theme
TIE Fighter Attack
Luke and Leia
The Forest Battle
Light of the Force
Throne Room/End titles

Encore: The Imperial March (Darth Vader's Theme)

In addition to the main show, Star Wars in Concert features a number of costumes and models from the Star Wars Series.  If you go to the show be sure to allow extra time prior to enjoy these displays. They were swarmed by people at the Rose Garden and so picture taking was very difficult.

For more information about Star Wars in Concert:

• Star Wars in Concert site
• Star Wars in Concert Event Page at the Rose Garden

Photos: Courtesy Lucasfilm LTD. © 2009 Lucasfilm Ltd. & TM where indicated. All rights reserved. Used under authorization.

DJ Icky Animal's Debut Set

There are a lot of DJ's who spin a lot of music in Portland but the debut of  DJ Icky Animal's (aka Jamie S. Rich) at the Fez Ballroom (lower level) this Friday  is an event which you should absolutely not miss.

Jamie S. Rich, a former editor over at Oni Press, is an extremely prolific author who has penned the critically acclaimed novels Cut My Hair, The Everlasting and Have You Seen The Horizon Lately (which is a true masterpiece) . He's also well known for his graphic novel collaborations with comic wonder-kid Joelle Jones including You Have Killed Me and 12 Reasons Why I Love Her.  One theme which runs through almost all of Jamie's work is music, REALLY good music.

Jamie, more than anyone I've met in Portland, knows his music.

Since Jamie's main job is writing, this is an extremely rare and special opportunity to catch someone with an extraordinary encyclopedic  knowledge of music spin a wide selection of tracks from his extensive collection.

Jamie (DJ Icky Animal's) starts spinning on the lower level of the Fez Ballroom (316 SW 11th) at  11pm on Friday October 2nd.  I guarantee if you go you'll hear some amazing stuff.

For more info on Jamie S. Rich:

• Confessions 123 – Jamie S. Rich's Blog
• DJ Icky Animal's event info
• Fez Ballroom

Monotonix in Portland (photo: Ken Aaron Neighborhood Notes)

Often when we listen to music, it's over little white headphones that connect to our iphones or ipods, literally plugging us into our music. We own music, download it and possess it. For many, music is a very personal experience. Monotonix turns that relationship completely on its head by creating a concert experience where people are compelled to come together to experience the music rather than consume it individually.

Monotonix has very little regard for the conventional structure of a concert. They assemble their instruments on the floor of the venue surrounded by a ring of fans. When the concert starts, it's an explosion. The entire room moves. It's not like a mosh pit where people flay and spin bashing into each other; rather, it's one big circular mass that moves as one.

The Crowd Moves as One (photo: Ken Aaron Neighborhood Notes)

The Music Fest NW set was a lot more tame than their previous Portland performances. Monotonix lead vocalist Ami Shalev spent a lot less time showing off his ass or simulating fellatio with audience members and spent a lot more time singing and rocking. This was a nice change for Monotonix, who seem to be continually refining and focusing what they do. Ami also spent a lot more time hoisted above the crowd. I was struck at site of the the constant sea of hands hosting and holding Ami, drums and the occasional crowd surfer. It was profoundly beautiful. The final song of the set was performed with Ami sitting on a stool playing the drums all hosited in the air by the audience.

Monotonix - The Crowd is The Stage (photo: Ken Aaron Neighborhood Notes)

There's something about a Monotonix show that creates an instant community. As two people collided at the periphery of the circle, their glasses went flying, and immediately the crowd around them made room and began looking for the glasses. In an almost perfect moment the two both emerged holding each other's glasses. It wasn't a moment you'd expect at an 'Israeli Punk' show.

Crowd Surfing at Monotonix (photo: Ken Aaron Neighborhood Notes)

I've seen Monotonix now three times, and I can honestly say they're not a one trick pony. Musically I do think there's some room for growth. Their song Body Language (off their debut album of the same name) shows off some real potential for what they can do. I didn't feel that some of their new songs were at the same level although the performance overall has certainly grown. But you don't go see Monotonix for just music. It's an absolutely amazing experience and one which anyone who loves rock music should have. Seeing Monotonix at Music Fest NW was a fantastic reminder to me of why I love music and why I go see live music. Music can be so much more than just consumed and it's great to be reminded of just how alive it really is.

See more photos from Monotonix's MusicFest NW set here:

A special thanks to Ken Aaron of Neighborhood Notes, whose pictures captured what my words could not.

For more information on Monotonix and Musicfest NW:

• Interview with Monotonix
• On Portland's Coverage of Monotonix
• Monotonix Web Site
• Musicfest NW

Edward Sharpe and The Magnetic Zeros in Portland

Infectious and contagious (in a good way), Edward Sharpe and The Magnetic Zeros sucks you in with music that builds and crescendos into an ecstatic space so compelling it'll win over even the most hardened hipster. Playing a late night set at a very packed Holocene, this ten-piece band filled every corner of the club with music, dance and electricity.

A folk-rock infusion, Edward Sharpe and The Magnetic Zeros could best be described as Arcade Fire if they were all hippies, or a band from the children of the members of the Grateful Dead. Edward Sharpe and The Magnetic Zeros are a fairly young band, and the show had a variety of technical issues, but their inexperience was never prevalent. When a mic went out, Alex Ebert (aka Edward Sharpe) led the audience in un-amplified song, proclaiming, "Let's do one without all this technology". The result was magical. The Holocene stage was so packed with musicians that they literally spilled out into the audience. Ebert, swigging from a bottle of wine, spent part of the final songs in the crowd, not just performing to them, but being a part of them. This connection between the band and the audience is what really makes Edward Sharpe and The Magnetic Zeros something special. They don't simply get up and play, they connect and they do so with a tremendous amount of heart and passion.

The highlight of the evening was the performance of their single "Home". Ebert and company lead the audience in a whistle prologue to the song that was hauntingly beautiful. The rest of the band joined in and the song began to build. Bit by bit it transformed from a song into a celebration, one which involved everyone in the room. Edward Sharpe and The Magnetic Zeros showed tremendous promise in their Music Fest NW set and I can't wait to see them perform live again.

Edward Sharpe and The Magnetic Zeros return to Portland on December 9th at the Doug Fir Lounge. I highly recommend checking them out as they won't be playing small venues for long and the experience of seeing them in a more intimate venue is really exceptional.

For more information on Edward Sharpe and The Magnetic Zeros:

• Edward Sharpe and The Magnetic Zeros site
• Edward Sharpe and The Magnetic Zeros Myspace
• 40 Day Dream – Free MP3 from Edward Sharpe and The Magnetic Zeros

Monotonix is Not to Be Missed

I've always been a fan of WWeek's Music Fest Northwest . The fact that it's a smaller regional fest in an era of megafests really creates a nice opportunity to get small venue experiences with up and coming bands.

This year MFNW features two of my absolute favorite small venue bands:

Monotonix (listen to our interview with Monotonix), an Israeli punk slash rock band is a show not to be missed. Monotonix's shows are a tornado of energy where almost anything can happen. Monotonix sets up on the floor of the venue (in this case it'll be at the Roseland) and then they explode.  If you're going to see one Music Fest NW show this year, make it Monotonix, it'll be an experience you'll never forget. [Monotonix plays at The Roseland Theater on Friday Septemer 18th at 10pm followed by Bad Brains at 11pm it's one of the best double bills of the fest]

Another 'band' that is extremely fun is Girl Talk. While not technically a 'band', Girl Talk will completely blow your expectations of what one guy can do with a laptop. Bringing together samples from almost every genre and era of music. It's amazing what gets mixed together, think songs like Elton John's Tiny Dancer can't collide with Kanye "Jackass" West's Gold Digger,  it can and will and the result is some of the most dancable tunes you'll ever hear. It is absolutely impossible to see Girl Talk and not dance and his shows are some of the most fun I've seen . [Girl Talk plays at The Roseland Theater (8 NW 6th Ave) on  Thursday September 17th at 11pm with Brother Reade and Guidance Counselor who go on starting at 9pm]

Other notable shows to be on the lookout for:

Arctic Monkeys – Friday Sept 18 @ 7pm Wonder Ballroom
Modest Mouse – Sunday Sept 20 @ 10pm Crystal Ballroom

Also I asked Trevor Solomon, the festival's artistic director which band he felt was the 'hidden gem' of the fest and he immediately replied Edward Sharpe & The Magnetic Zeros (Read the Review of Edward Sharpe & The Magnetic Zeros in Portland who play at Holocene on Thursday Sept. 17 @ Midnight.

Since many of the individual concerts are sold out, the best way to get in is to buy a Music Fest NW wrist band ($60) which gives you access to all the shows of the fest from Wednesday night through Sunday.

For more information about Musicfest NW:

• Music Fest Northwest Site
• Monotonix
• Girl Talk

Miley Cyrus Tour Portland Spectacle

If there was one thing that was made perfectly clear at the Miley Cyrus Wonder World Contert Tour debut in Portland, it's that Hannah Montana is no more. Miley has clearly hit a turning point in her life and career where she's stopped being a child actress performer and is starting to explore her blossoming adulthood. It's that transition when a teenager slams their door and instead of hearing Avril Lavigne emanating from the room, you hear Led Zeppelin. This period of time is exciting, wonderful, awful, painful and confusing, which in many ways is captured in the immense spectacle that is Miley's concert tour.

Changing costumes with almost every number, Miley seemed to be trying on dozens of different looks, perhaps to see which best reflected herself. Musically this frenetic change of styles was also apparent. The show bounced around from rock to pop to ballad and then into songs which seemed to blend all those styles into one. It's entertaining to watch but you get the real sense that Miley isn't quite sure who exactly she's becoming.

Miley was very clear about who she isn't. In the hour and a half set, Miley barely touched any of the songs which made her a success, only flirting with the Hannah Montana library with a very sexed-up version of Girls Night Out and a nice rendition of The Climb. She seemed to steer very far away from her signature Hannah Montana theme song, something I think really disappointed the rather young audience.

There's no denying that the Miley Cyrus concert tour is a grand spectacle. Each song seemed to be accompanied by some sort of massive set piece and with ten dancers and constant and elaborate choreography; the show was a constant feast for the eyes. Miley Cyrus deserves a tremendous amount of credit for this accomplishment. The complexity of the staging and the sheer amount of choreography (not to mention the constant costume changes) would be a huge challenge even for the most seasoned of performers. Miley Cyrus tackles this aspect of her show masterfully and should be commended for it. Unfortunately, musically she didn't match the grand spectacle. It's not that Miley is a poor performer – when she hits the mark, she's got a solid voice, great stage presence and wonderful connection with the audience. I just don't think the bulk of her material is all that great. There are some real stand-outs among her work including her new hit Party in the USA, The Climb (the theme song from The Hannah Montana Movie) and When I Look at You (which is the theme from her upcoming 2010 film, The Last Song). The rest of the songs she performed never really break out and tended to fall a little on the dull side.

Miley Cyrus put to rest any question that she can rock, with a fantastic cover of Joan Jett And The Blackhearts 'I Love Rock N' Roll' which she sang while riding a motor cycle that was lifted up over the audience and flown through the air. It was frustrating to hear that she does have the talent, even to rock, but not the real material to back that up. Another frustrating moment came during a transition between numbers where Miley and the dancers teased with a short bit of the Thriller dance; I would have loved to see her cover Michael Jackson, but the number was only a quick tease and Miley did not sing.

Throughout the 90 minute show, Miley changed her costumes a dizzying 10 times. Most of the costumes were skin tight and accentuated her breasts. This sexually forward side to Miley might have been a bit of a shock to the parents of the younger kids in the audience who came to see 'Hannah Montana'. My daughter, who is 10, even commented on how much Miley showed off the fact that she's got breasts (it was that noticeable). Despite this obvious display of her blossoming sexuality, Miley kept her show fairly tame. Rather than shock or put off her audience in some sort of rebellion, she simply declared her womanhood and burgeoning sexuality.

Miley Cyrus on Tour catches a young artist at a real intersection in her career. There seems to be a dynamic performer emerging from the bubblegum pop child star she once was. Hopefully after this tour she'll be able to have some real time to work with a producer and song writers who can see her talent and bring out the best of it, because without a solid foundation of music under her, all the spectacle in the world won't be enough to ignite her career and carry her beyond Hannah Montana.

For More info on Miley Cyrus Wonder World Tour:

• Miley Cyrus Official Site
• New Miley Cyrus Ticketless Ticket System Video
• Miley Cyrus Wonder World Tour Promo

The Rose Garden is the official launch spot for this tour which officially kicks off Monday, September 14th at 7pm (Portland was also the launch for this year's American Idol 2009 Tour).  The Miley Cyrus Portland concert will also feature a new paperless ticketing system that could possibly revolutionize the concert industry (check out this video on the new ticket system).

On Portland is giving away 5 pairs of tickets (10 tix total!!) in our first ever twitter giveaway.

Here's how to enter:

1) Follow us on twitter:  @OnPortland

2)  Tweet this to your friends:  Miley Cyrus Concert  Portland Tix giveaway – follow @onportland & retweet to enter: http://sn.im/mileycyrus

CLICK HERE to send the Tweet out to your Twitter friends automatically.

Also… for more great Rose Quarter promos follow @rosequarter

The giveaway ends September 6, 2009 at midnight PST. Five winners will be picked at random (one for each pair of tickets) and notified via Twitter DM. If notified, you will have 24 hours to respond and claim your prize, at which point it will be given to another contestant. You MUST be following @OnPortland and tweet the entry phrase to be eligible to win.

NOTE:  Kids that aren’t old enough to have a government issued ID will need a parent to claim the tickets for them. Parents will need to be physically present with their ID to claim the tickets at the box office.  From there can give the tickets to their kids.

We hope to bring more great giveaways and promotions in the future, so let us know what you'd like to see.

Key On Portland Music coverage:

• Miley Cyrus live in concert – Portland Tour Review
• American Idol 2009 Summer Tour Review
• American Idol Portland Video Interviews
• Jonas Brothers Portland Concert Review
• Honor Society Portland Video Interview