Tag Archives: Sam Beam

cat_reviews

Jesca Hoop Proves to Be a True Original at Mercury Lounge

March 9th, 2017

Jesca Hoop – Mercury Lounge – March 8, 2017

tumblr_okt0mhUv4l1rccpkso1_500
Jesca Hoop was once a nanny to Tom Waits’ kids, and she’s worked with everyone from Blake Mills and Stewart Copeland to Sam Beam, with whom the singer-songwriter released a gorgeous duets album in 2016 and subsequently toured. Hoop has signed to Sub Pop, and she’s a touch mystical—a vocalist and soothsayer from some faraway, possibly not terrestrial place—but she can tell a bar joke with the best of ’em. She’s accessible and impenetrable at the same time. An artist like that, you’d think, would be someone more written about than listened to, but listening to Hoop’s music is only the beginning of the larger embrace. Live, she’s quietly (and sometimes not so quietly) devastating. She formed a deep and detailed bond with an audience over the course of a 75-minute set at Mercury Lounge last night, framed by the recently released Memories Are Now, a collection of new Hoop songs that reveal more with each subsequent listen.

What do we call this? Hoop arrived as part of a four-piece band that included drums, bass, harmony vocals and other effects. Her music could sound trance-folkie, as in the opening one-two of “Songs of Old” and “Animal Kingdom Chaotic.” It could sound bittersweet and kind of country, as in “Peacemaker.” It could creep up and then, well, overcome you, as in “The Coming,” which thanks to some spectral-sounding guitar in its intro sounded distant and then was upon you. It’s cinematic—panoramic even—as Hoop created little worlds out of lyrics. “I refuse to think that my best friend’s going to hell anymore” is what might be called a classic Jesca Hoop line. So is “And now you gotta get it with what you’ve got/ With what you’ve been given or not” (from the late-in-set standout “Born To”). And so is “You say it’s impossible/ But your dumb computer says no.”

Hoop’s an artist in whom you can hear what you want to in her forbearers and potential influences. The mind drifts to Laurie Anderson, Kate Bush, Björk and plenty of others. When the mind settles, however—and you can really pause to hear and absorb the nuances when in the thrall of Hoop and band in the live setting—you feel like you’re hearing a true original. No one else quite sounds like this, and you’re thirsting for more when an unhurried set still goes by like a finger snap. —Chad Berndtson | @Cberndtson

cat_reviews

Iron & Wine Play Career-Spanning Show at the Space at Westbury

June 27th, 2014

Iron & Wine – the Space at Westbury – June 26, 2014

iron-and-wine-2013
When you go see Iron & Wine, you know what you’re going to get but also don’t know what you’re going to get. Of course, there are going to be great songs, lots of them, overflowing with unique lyricism, imagery and melody, and you know you’ll have Sam Beam there to sing them to you. What you don’t always know is who will be playing with him, which will set the tone and style of the show. In past years, the sound has followed as Beam has toured with horns or backup singers or a stripped-down band. On Thursday night at the Space in Westbury, Beam played what he thought was his first show on Long Island proper, backed by a steady-as-she-goes roots-rock band that might be equally comfortable backing Bob Dylan these days, and the music followed suit.

The show opened with a terrific set from the Secret Sisters, out of Alabama, their vocal harmonies resonating to almost cosmic effect, while their backing band rumbled with soulful blues rock. The voices, the music, the set—which ranged across multiple styles of rock and roll, including covers of Hank Williams and their take on an unfinished Dylan piece—and the Sisters’ Southern charm easily won over the crowd. Beam and his band opened their career-spanning headlining set with a high-energy folk-shuffle version of “Boy with a Coin.” Banjo, acoustic guitar, organ, bass and drums nicely accented Beam’s agave-nectar natural-sweetener voice. The band flipped among instruments to widen the sound, Jim Becker moving from banjo to mandolin to acoustic-wired-electric guitar; Rob Burger moving from organ to Rhodes. Songs of exquisite beauty, like “House by the Sea,” with some nice double-acoustic guitar picking, led up to some momentum-building blues rock on songs like “Freedom Hangs Like Heaven.”

And while the band nicely worked the material, the set’s highlight was at the halfway point when Beam cast aside the extra musicians, first with a gorgeous duet with Burger on “Joy,” off his most recent album, Ghost on Ghost. This was followed by an all-request group of solo songs that stole the show. The enthusiastic crowd was up for the task, asking for some A-list material. All were great, but two songs stood out: First, Iron & Wine’s made-it-his-own, pure-light-and-good version of the Postal Service’s “Such Great Heights,” which certainly took away the breath from even the most cynical curmudgeon in the room. The poetic “Flightless Bird, American Mouth,” was second, Beam’s voice shocking the not silenced easily audience into a silence beautiful in its absoluteness. The remainder of the show was a cascade of hits, featuring great versions of “Woman King,” “Rabbit Will Run” and the dark, slow build-to-climax encore of “Lovers Revolution.” It was a reminder of how many great songs Beam has to choose from, but really, no surprises there. —A. Stein