Sunday the Great Lake Swimmers played a solid show at the free Marquette Neighborhood Waterfront Festival here in Madison.

About halfway through the concert, the afternoon’s threatening skies opened up and sent the rain down.

Those of us in the crowd just popped our umbrellas, and continued to enjoy the folk rock coming from the covered stage. I was glad I didn’t leave, the rain only lasted for a couple of songs.

For the the last song of the encore, lead singer Tony Dekker performed the song “I Became Awake” as a solo. The song begins: “I became awake, from a very dark place…”

As he sang the final refrain, “I was heavy, but now I am light,” the sun peaked out of the clouds for a brief moment. The crowd appreciated the sun’s timing and gave it a round of applause. It was a fitting end to a real good show.

Emmylou Harris’ set began somewhat subdued. Early on she played one of my favorites of the night, the hauntingly beautiful “Red Dirt Girl.” That tone continued with a cover of Lucinda Willams’ “Sweet Old World” and the somber waltz “I Miss the Mississippi and You.”

In addition to her talent for singing, she’s got an excellent ability to select backing musicians. Last night her band, the “Red Dirt Boys” shined and meshed perfectly with Emmylou’s sometimes hushed vocals, especially the fiddle, accordion, and backing vocals on “Sweet Old World.”

Throughout the show, Emmylou’s between-song banter was enjoyable without being too much. Whether she was joking about her “brunette days,” talking about how nice she thought Madison was, or watching the History Channel (or as she put it, “the I live alone channel”), it was all genuine. You get that same feeling when you listen to her music as well.

Later on Emmylou and the band seemed to loosen up a bit with “Two More Bottles of Wine,” and the country rocker “Born to Run.” The latter ended up being a great showcase for the band with each musician getting the chance to demonstrate their skills. Guitarist Buddy Miller (who also opened the show) was especially good. Another uptempo song was also one of my favorites of the night, the bluegrass gospel song “Get Up John.”

After a generous set of 21 songs, Emmylou introduced the band, thanked the audience very graciously and left the stage. They came back for a brief encore, “Save the Last Dance for Me.” It was a fitting encore to an excellent show.

Since I’ve been looking forward to seeing Emmylou Harris perform live for so long, I was a little afraid she wouldn’t be able to stand up to my expectations. My fears were unwarranted from the moment her set began. With an artist like Emmylou Harris, I should have known better.

The band is from Mali and played some very infectious afro-pop. I enjoyed their music a lot. At times when I was shooting, I had to remind myself to stay still for a good shot. It was really hard not to move while they were playing.

Balla Tounkara plays the kora, a West African instrument.

Concert photography presents its own challenges, especially with the lighting. Using a flash is out of the question (you don’t want to annoy, and you do want to capture the stage lighting). So you need to shoot with a higher ISO, which can make things a bit grainy (example below).

Digital Photography School has a couple of good tutorials: the basics of rock concert photography and rock concert photography, beyond the basics.

I liked the next photo even though it was a bit out of focus. Hopefully I can improve my technique by shooting more concerts.

Toward the end of the show there was this young girl “dancing” with a hula hoop in front of the stage. Balla enjoyed her technique so much, he brought her up on stage to hula hoop during the encore. The crowd really cheered her on. After the song he introduced her and gave her a big hug.

This is an outstanding recording, available in lossless FLAC format, released by the Cardinals themselves. The entire show is posted in the audio section of the Internet Archive: Ryan Adams Live at Overture Hall on 2008-10-05.

What a great souvenir of a great concert. A must for all Ryan Adams fans.

The show began in a big way with “Love in Action” from his days in Utopia. When the band repeatedly sang the line before the title phrase, “You can’t stop, you can’t stop…” I thought, what you can’t stop is the energy emanating from the stage. They played with a garage-band-like ferociousness, pounding out the power chords.

Todd kept digging deep into his back catalog with “Black Mariah,” “Open My Eyes” and “I Saw The Light” all of which the crowd just ate up. The first part of the set also included a couple of covers: The Call’s “The Walls Came Down” and Red Rider’s “Lunatic Fringe.”

After the first part of the set, Todd said, “Now we come to the real reason you’re here. To get a bootleg copy of our new album, recorded on your cell phone.”

The band then played through the entire tracklist of Todd Rundgren’s new CD, Arena. Those songs held up very well next to the older stuff. Todd has certainly not lost his gift for songwriting. Even when he’s rocking out there are memorable melodic hooks and choruses. I liked the new songs so much I bought the new disc from the merch table at the show.

Todd certainly didn’t hold anything back when he sang the older songs, but I thought he sang the new stuff with renewed passion. Maybe it was simply because the songs are fairly new, but it made them sound that much better. Judging by the audience reaction, I wasn’t the only one that felt that way.

The new album is an homage to the sound of arena rock and the band definitely put out enough sound to fill a 10,000 seat venue. It’s also filled with political overtones, some subtle, some not. Before this part of the show, Todd even told us “the evening will now turn into a seminar in anger management.” I thought the band was managing their anger admirably, channeling it straight into rock ‘n roll.

During the show I was also reminded what a good guitarist Todd Rundgren is. He and his four band mates (including guitarist/keyboardist and fellow Utopia member, Kasim Sultan) all gave fantastic performances.

For the encore, the band played a raucous version of “Couldn’t I Just Tell You” and closed with “Just One Victory.” After the many sardonic comments Todd made about last night’s Presidential debate (my favorite was, “John McCain is going to change the dynamic of the election tonight, by making his head explode”), that song seemed a hopeful way to end the show:

If you don’t know what to do about a world of trouble,
You can pull it through if you need to and if,
You believe it’s true, it will surely happen,
Shining still, to give us the will,
Bright as the day, to show us the way,
Somehow, someday,
We need just one victory and were on our way,
Praying for it all day and fighting for it all night,
Give us just one victory, it will be all right.

The concert started off with two new songs, which went over fairly well with the audience. Next was a solid “Everybody Knows,” a pained and somber cover of Oasis’ “Wonderwall”, followed by another new song. By this point Ryan and the band seemed to be functioning like a well-oiled machine, and came to the first big highlight when they played “Goodnight Rose.” It included a wonderful instrumental jam featuring harmonizing guitars, an almost whispering chant of “goodnight, goodnight” toward the end, which segued into the signature musical riff of the song at full volume to finish.

After a few more songs (including another new one), Ryan finally addressed the fools in the crowd who were shouting out their requests. What brought him over the edge was someone who wouldn’t stop shouting a song from his former band, Whiskeytown. “No” he finally responded, “not going to happen.”

He then mentioned something about they were here to play for the people who came with an open mind, which got a nice round of applause. In my opinion, the only thing more annoying at a show than people who shout out unsolicited requests are those who feel the need to scream “wooooooo!” in the middle of a quiet part of the concert.

A few songs later, the band played “Desire,” which was very much an ensemble piece, highlighting the performance of the entire band. As was printed on the tickets, this was The Cardinals (not Ryan Adams and the Cardinals). After a few more songs Ryan mentioned how well he thought the show was going, and the band took a well deserved break.

The tightness of the first set continued after the intermission as the band started off with another new song. While that new one was a straight-up rock ‘n’ roll number, most of last night’s tunes were more laid back, fitting comfortably into the alt-country style the band is known for. Highlights of the second set included “Magnolia Mountain” and “Easy Plateau,” both of which featured beautiful extended jams (which at times were reminiscent of the Grateful Dead). I really got the feeling the band was having a great time playing together, which again speaks to how well they perform as a group. And they kept it up, song after song.

As the band paused between songs around 11:25pm or so, someone from off stage walked on to talk to Ryan Adams. After they spoke, Ryan told us they completely lost track of time, and went over their curfew. Then he joked about how much it just cost for him to tell us that. Next the band huddled up for a minute and decided to finish the show with a stellar version of one of my favorite songs, “When The Stars Go Blue.”

After 31 songs, and almost three hours, the show was over. Maybe it was the late hour, but I walked out of the Overture Center almost dazed by the concert. What a great show.

Want to read more? The forums of the Ryan Adams Archive has a setlist, discussion, and pictures from the Madison show.

Orchestra Baobab sings in their native languages (Wolof? Mandinka? and some French) and I’m sure most of us in the audience didn’t have a clue what they were singing about. But that didn’t matter with the easy going groove their music had.

Each song seemed to go on forever as Orchestra Baobab laid down a groove, and kept it going. Between the verses the band would go into lengthy jam sessions, highlighting the musicians’ abilities. The lead guitarist and saxophone player were especially impressive. During one song, the two of them engaged in a delicious musical conversation with each answering the other’s riffs. Even though the songs seemed to go on forever, the music was so good during the two-hour concert (not counting the 15 minute intermission), the evening just flew by for me.

There was one oddity about the show. Throughout the evening audience members near the stage kept handing dollar bills to the band. I have never witnessed tipping at a venue like this before. Sure in a small club, a singer (or band) might have a tip jar, but tipping the band at a theatre-sized venue like the Barrymore? I wondered if this kind of tipping was common where Orchestra Baobab comes from.

I started out this post saying the show was almost perfect for a beautiful summer evening. What would have made it perfect? To hear them outside with a cool summer breeze blowing. I guess the closest we could come last night were the faux stars, twinkling on the theatre ceiling.

The concert began on a somber tone, with Kathleen playing the haunting “Alicia Ross” “Mercury” (from her debut album). She started by herself, accompanied only by her acoustic guitar. As it continued the other band members gradually chimed in, until all five musicians were playing in full force. By the end of the song I knew I was going to be in for a real treat. Just as that thought was in my head, the band confirmed my instinct and launched into the rousing and jangly, “In State,” a song from my favorite Kathleen Edwards album, Back to Me.

Touring to promote her most recent (and excellent) release, Asking for Flowers, Kathleen and her band played some great cuts from that disc. The beautiful title track, the rocking “Cheapest Key” and country tinged, “I Make the Dough, You Get the Glory” were all standouts.

Kathleen Edwards’ songwriting talents are often compared to the renowned Lucinda Williams. A most appropriate reference, although Edwards’ performing style is more intense, and her voice is much more beautiful. All of which were very apparent when the band played “Summerlong.”

I know how to play this game,
One, two, three and I’m safe.
Count real slow to five,
You couldn’t keep me around if you tried.

I know how to beat the rage,
Of my tender age.
Touch me once in the hall,
But don’t look back and don’t call.

There are some things I can hardly say.
You’ve got me feeling a brand new way.
Please don’t let this be summerlong.

I used to play this game,
In the middle lane.
Pass them all on the inside,
And don’t get caught in a lie.

There are some things I can hardly say.
You’ve got me feeling a brand new way.
Please don’t let this be summerlong,
Cuz I want to stay.

Fueled by the masterful performance of lead guitarist (and husband to Edwards) Colin Cripps, the band at times played with a ferocious intensity not unlike Neil Young & Crazy Horse. Evident when Kathleen and her band played “Oh Canada,” a very politically charged song about her homeland. Another example took place during one the last songs of the night, the dreamy, “Goodnight California.” It started slow and somber then morphed into a fierce jam session with Kathleen and her guitarists jamming and trading solos that the crowd just ate up.

But the outstanding moments in the show didn’t all come from rocking jams. “Hockey Skates,” was my favorite of the low-key songs, and another illustration of Kathleen’s songwriting skills:

You can meet me at ten thirty,
I won’t be there, I’ll be gone.
We can talk like we are friends,
Going over it all again.

Talking about everything I am doing wrong,
Do you wish your nose was longer,
So you’d have an excuse not to see past it?
Do you wish the lights were brighter in the city that you live?

I am so sick of consequence and the look on your face.
I am tired of playing defense,
I don’t even have hockey skates.

Watching a video doesn’t quite do the live concert experience justice, but here’s a taste of what I heard last night: Kathleen Edwards and her band performing “Cheapest Key” on the Late Show a few weeks ago.

Thanks for a great show Kathleen (and band). I can’t wait to see you again.

After a good long set of music, The New Pornographers thanked the crowd and left the stage. Here it comes, I thought. It’s such a cliché, the way rock concert encores happen these days.

First there is this long, contrived period of waiting when you know the band is going to come back on stage. But as an appreciative audience member, you feel obligated to keep applauding. Often the band takes so long to return to the stage, you have to stop applauding because the muscles in your arms start cramping up. Then when the band does finally return to the stage, they can play so many songs it’s a second set, not an encore. I’m not complaining about concerts being too long, if a band wants to play a second set of music that’s great, but don’t use that as the encore. Just tell us you’ll be back on stage after a short break.

The geeky librarian in me is compelled to look up the word “encore.” The American Heritage Dictionary has this definition: “A demand by an audience for an additional performance, usually expressed by applause.”

As the encore is now always expected, a real encore only happens if there is a second one. Then you truly know the band appreciated the audience and is willing to come back and play more music.

Getting back to The New Pornographers’ encore last night, it really surprised me when the band returned to the stage after a scant 30 second absence. When people in the crowd started shouting songs they wanted to hear (another cliché I should blog about), frontman A.C. Newman retorted “Whatever you’re yelling out, I promise you this song is waaaaaaay better.”

The band then launched into a fierce cover of E.L.O.’s “Don’t Bring Be Down.” Way better indeed. Next the band performed a killer rendition of one of their classic songs “The Slow Descent Into Alcoholism,” thanked the crowd again, and the show was over.

What a perfect encore. A short wait, an excellent version of a surprise song, and a great song from the band’s back catalog. Now that’s how to end a concert.

The concert (held at the Wisconsin Union Theater) was so good in its entirety, it’s difficult to choose highlight moments. But what I enjoyed most was hearing performances of some of my favorite songs: “Mame Bamba” from The Guide (Wommat), the title track from the previously mentioned “Set,” and “Birima” and “Beykat” from the album Joko: The Link.

Before Youssou and his band were introduced, the audience was told if we felt the urge to dance (and they were sure we would) we should feel comfortable doing so in the aisles and in front of the stage. For the first few songs, there was some clapping going on and some rocking in the seats, but to my disbelief, no one got up and danced. Suddenly, a courageous couple walked in front of the stage and started dancing. Soon that area (and a good portion of the lower level aisles) was jam packed with people dancing to the mbalax rhythms. When that happened the intensity of the music swelled along with the number of dancers — the band feeding off the energy the dancers gave them.

Just before one of the few low-key songs of the night, Youssou lamented over the fact that here in America, what they most often show us about Africa is AIDS, poverty, suffering, war, etc. These are not the only measures of Africa. He then sang a quiet, and very passionate version of “New Africa,” accompanied only by his keyboardist. The song (sung mostly in his native language of Wolof) ends with two hopeful English phrases:

Change your thinking,
Come together, new Africa.
Work together,
Keep on working, for Africa.

Youssou and the nine members of his band (four percussionists, two guitars, bass, keyboard, and backup singer) played a two hour set with Springsteen-like endurance that was so good, I lost all perception of time. Toward the end of the show, Youssou asked us if we wanted to hear one more song. Of course we cheered our approval. He then said “We’ve already played 28 songs, but you want to hear one more?”

My first thought (and vocal reaction) was, “Yeah, woo hoo! Play one more!” My second thought was, “Wow! They’ve played 28 songs already?”

What a great show. I hope I don’t have to wait another 17 years to see Youssou N’Dour and the Super Etoile of Dakar again.