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Seminole Hard Rock/Tom Craig

Eric Clapton and Robert Randolph
Hard Rock Live
Monday, May 5, 2008

Better Than: Watching TV pundits continue to treat Hillary Clinton’s campaign seriously.

Is Eric Clapton God or just a higher power some choose to call God?

Unfortunately, the decades-long debate over Clapton’s exact theological disposition wasn’t solved at Hard Rock Live where he performed a fine set that vacillated between the divinely inspired and, occasionally, the divine itself.

When you see Clapton, you expect big doin’s, especially if you shell out 100 to 400 bucks, the going rate. Luckily, Robert Randolph and the Family Band opened the show with their ebullient brand of gospel/funk/rock/blues/whatchamacallit music. Randolph, who learned to sing and play pedal steel guitar in the Pentecostal church, came out hard with a feedback-saturated one-chord stomp -- appropriately called “Good Time” -- that was equal parts Hendrix, Sly Stone, and the late blues master R.L. Burnside. Then Randolph switched to a Stratocaster for a cool number featuring his younger sister’s big gospel voice; oddly enough, the song mixed in the airy guitar tones and mellow feel of a Grateful Dead tune. Intent on covering a wide musical spectrum, Randolph slipped in a nice version of the gospel-blues “You Gotta Move” and a forgettable version of Hendrix’s “Voodoo Chile.” (Nobody should play “Voodoo Chile” but Hendrix. Ever.)

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Ari Rothenberg

RADIOHEAD
CRUZAN AMPHITHEATRE
MONDAY, MAY 5, 2008

Better than: Singing about the techno-apocalypse by yourself in your room.

Thom Yorke wears a white linen jacket, Jonny Greenwood’s mop of hair dangles in front of his stooped head like the curtain in front of the Wizard of Oz. Stalactites of light hang over the stage, and as they purposefully stride forward you realize Radiohead is just a handful of small, pasty Englishmen. But the realization fades quickly, with the lights, as the band eases into a set of two dozen songs, most of them from In Rainbows, beginning with the Eno-ish “All I Need.”

For the dedicated, keep reading for the play-by-play / set list; for those who want your news up front, Radiohead kicked ass kicking off its North American tour in West Palm Beach last night. All I can really say is, do you listen to Radiohead, people?

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BRUCE SPRINGSTEEN AND THE E STREET BAND
BANK ATLANTIC CENTER
FRIDAY, MAY 2, 2008

Better than: Watching Steven Van Zandt on reruns of the Sopranos.

The lines between rock ‘n’ roll show and revival meeting were effectively blurred beyond distinction this past Friday night as Bruce Springsteen and the E Street Band ended the current leg of their U.S. trek with an exhilarating, high-energy, two hour, forty-five minute blow-out that drew from every chapter of the Boss’ storied 35-year career. It was the kind of concert that offered just cause as to why Springsteen’s fans are among the most zealous of devotees -- those whose fervor can run the gamut from Deadhead-like dedication to that of wide-eyed faithful who see the image of the Virgin Mary in half-eaten grilled cheese sandwiches. And while there’s something scary about buying into the cult of personality, a Springsteen show does go a long way towards making even a reticent skeptic suddenly see the light.

Indeed, Springsteen stalks the stage with an agile grace that’s part big-time rock star, part cheerleader and part Pentecostal preacher, exhorting the faithful to up the ante on enthusiasm (not that it was needed!) while reassuring them that the dreams and idealism of adolescence need not be ceded to aging, encroaching responsibilities and the dire effects of political cynicism. Midway through the show, Springsteen got on his political pulpit, editorializing about the need for change after eight years of the nation being led astray, but all in all, any blatant proselytizing was unnecessary. The best songs of the night – the rallying anthemic opener “The Promised Land,” the populist clarion call “Out In The Street,” a particularly poignant “Growin’ Up,” a riveting version of “The Rising” and a celebratory “Mary’s Place” – all spoke poignantly and profoundly about the need to somehow cling to earlier optimism while peering through the dark clouds of current circumstance.

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B.B. King and Joe Bonamassa at the BankAtlantic Center
Saturday, May 3, 2008

Better Than: When you ask your baby for water and she brings you gasoline.

At 82, the good news is that B.B. King can still play and sing with aplomb. The bad news is that he’d rather talk.

At least that’s what happened Saturday when the King of the Blues and his swingin’ eight piece band came to the BankAtlantic center.

For Saturday’s performance, BankAtlantic’s hockey rink was cut in half by a large black curtain so as to create the smaller, more intimate setting the venue bills as “The Sinatra Theatre”. It’s the same place-- just half the size with better acoustics.

Thirty year old “Smokin’” Joe Bonamassa, a notable up-and-coming guitar slinger, opened the show with a 45 minute set comprised of blues and blues-rock originals. Bonamassa, who plays largely in the now-ubiquitous Stevie Ray Vaughan hard blues-rock style and sings a little bit like Bad Company’s Paul Rodgers, found his footing in the early '90s when he recorded some good tunes in a band called Bloodline comprised with the sons of Miles Davis, Robbie Krieger (the Doors), and Berry Oakley (Allman Brothers). Bonamassa’s electric material was good, although not terribly memorable. With his final song though, Bonamassa shed his four piece band and went solo acoustic for an exciting number called “Woke Up Dreaming,” a show off piece which displayed his guitar-picking prowess.

Then, promptly at 9, B.B.’s band took the stage. With old time showmanship, the four horns, rhythm guitarist, electric bass player, drummer, and keyboard player warmed up the crowd for two numbers before announcing His Highness. For a man of his girth and age, B.B. strolled coolly onstage. The crowd gave him a warm standing-O before he plopped into the chair where he remained for the next two hours.

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Sayre Berman

Carlos Santana and Derek Trucks
Hard Rock Live
Wednesday, April 30, 2008

Better Than: Sitting home and watching the speeches of Rev. Jeremiah Wright loop constantly on every channel.

There are three sure things at a Santana show: 1) Carlos will display the highest level of improvisational virtuosity; 2) there will be at least three percussionists on stage; 3) Carlos will deliver at least one hippie ramble about spirituality, multiculturalism, and/or world peace. This last part is a bit awkward, but Carlos is genuine and his brilliant playing coheres in a way that his gentle preaching never quite does. The audience takes it all in stride.

After ripping through seven or eight high energy songs, Carlos finally took to the mic and greeted the audience: “Buenas noches. Shalom shalom...”

Then he dove right into talk sin and redemption. “It means a lot for us to present ourselves to an ocean of bodies and hearts that are open for the truth,” he said. “It’s important for us to remember that each of us were made in God’s image.”

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Pelican, Circa Survive, and Thrice
Revolution, Ft. Lauderdale
Tuesday, April 29, 2008

Better Than: Considering just Thrice’s set – better than the band’s last appearance in South Florida, last December at the Fillmore Miami Beach.

The Review: Alright, I start this review very irritated that it can’t be more detailed about things like set lists, for the simple reason that Revolution’s door staff insisted on systematically confiscating all the ballpoint pens in my purse. Witness this exchange, pathetic on every level:

Me: Seriously?
Bouncer 1: Owner said no pens tonight.
Me: Okay, I’m press though, I’m reviewing the show. I need at least one pen to take notes.. Here’s my business card.
Bouncer 2:You need a press pass.
Me: There are no press passes for this show, because there’s no dedicated press area, and I’m not taking photos either. There are just review tickets.
Bouncer 2:You’ve got to have a press pass to have a pen.

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Miami Symphony
April 27, 2008
The Lincoln Theatre

Better Than: 100 years of symphonic solitude sung by Marquez himself.

It’s not every night that one gets to hear a hundred year span of classical music played live; then again, it’s not every night that The Miami Symphony Orchestra hits one of our town’s fabled stages – though I for one of what have gotta be many, more than kinda wish that it were.

Every night like last night, that is, when MSO hit Lincoln Theatre for its season closer, a closer which may even have been more robust than the season which preceded it.

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Honda Civic Tour
Panic at the Disco, Motion City Soundtrack, The Hush Sound, Phantom Planet
Wednesday, April 23, 2008
The Fillmore

Better than: waiting outside the venue in your min-van to pick up your 12-year-old daughter and her four best friends.

I seem to have lost track of when shows stopped being just shows, you know, with the bands simply being promoted as playing a gig. Instead, shows have turned into neatly packaged promotional events surrounded by clever sponsorships, making them more like mini-festivals. It’s not that the mini-festival concept is terrible, but it may be a lot of overkill for something that doesn’t need so much added hoopla.

Funny enough, I’m pretty sure that at least half of the Honda Civic Tour audience demographic aren’t going to be of legal driving age for at least a few more years. Regardless of not being eligible to win the Honda Civic Hybrid, customized by Panic at the Disco (PATD), the über- stylish kids at tonight’s event seemed to be all about the music, and came decked out in their neon American Apparel headbands and Urban Outfitters finest.

Around 7 p.m., The Fillmore lobby was packed with screeching fans waiting in line to get autographs and snapshots with cutie-pie alt-rockers Phantom Planet. Meeting the bands was one of the major perks for fans of this tour. Unlike a lot of meet-and-greet style setups, this one didn’t even require that you purchase anything for the band to sign. Across the way, kiosks (with no lines, because, again, not many of the attendees were old enough to enter) were stationed with computers so that you could enter to win a Honda Civic Hybrid. A few steps away from those were booths promoting the environment and explaining how this was a “Tour on a Mission.” There, you could register to win an PATD autographed guitar for just $3, which went toward saving the earth. Of course, everyone who bought a ticket had already made a contribution, since part of the proceeds are being dedicated to the Reverb/Global Inheritance fund. Yes, there was quite a lot of warm and fuzzy goodwill going around here.

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Bonde Do Rolê
Thursday, April 24, 2008
Studio A

Better Than: Carnival at Rio.

In a mish-mash of Western, Latin and African sounds, Brazilian quartet Bonde Do Rolê got the crowd shakin’ their respective asses last night as they introduced their new lineup after lead singer Marina Ribatski unexpectedly left the group late last year. If they proved anything last night is that they found not one, but two suitable replacements that bring much to the table. Ana Bernardino screams and roars with such ferocity that it felt safer to take a few steps back, while Laura Taylor melodically sings, keeping the sound close to that of when Ribatski was still in the group.

Long-time members Pedro D’Eyrot and Rodrigo Gorky for the most part let the girls steal the spotlight, but each still showed they have much more experience performing in front of a live crowd than Taylor or Bernardino do. D’Eyrot played MC for the night, working the crowd and speaking a mix of English, Portuguese and Spanish, while Gorky commanded the DJ equipment, coming out from behind the decks every now and then to join in on the fun.

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Concert Review: B-Live at The Bayfront Park Amphitheatre

B-Live
April 19, 2008
The Bayfront Park Amphitheatre

Better Than: The biggest block party you ever attended.

See the slide show here

Miami is mad about its music, not to mention its mojitos, so when the good folk at Bacardi took over Miami’s Bayfront Park and gave a few thousand of their pals heaping helpings of both, well, pandemonium set in. Oh, not psychotic, mind you, but definitely crazy. And, as they say in the hood: off the motherfucking chain.

Fittingly, Miami’s-own DJ Irie ushered in the throng, and gave ‘em a skip as he did so. I tell ya, Irie has gotta be perhaps the only local DJ who can spin between arenas and cabanas and not lose his heat – or his cool. Last night was no exception. What he spun, I couldn’t tell you, but I can tell you that it went perfectly with sunset and a cocktail. Better yet, his cool warmed Bayfront like God’s breath itself. Little wonder Irie told me he felt “blessed” to be here.

John Hood

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Eisley
Thursday, April 17, 2008
Culture Room

Better than: Taking three xanax and drinking a handle of Jack.

If you’re anywhere near exhausted, don’t even think about going to an Eisley show. This all-in-the-family Texas-born quintet (four sisters and their cousin, all with the last name DuPree) may produce some full and powerful female harmonies, but most of the time their alt-folk pop just sounds like rocked out and girly-ed up versions of sweet lullabies you sang as a child. After listening to the band live for more than 15 minutes, their dreamy vocalizations start to feel more like sonic sleeping pills, and less like the glowing melodies produced by similar artists like the Sundays or Sixpence None The Richer.

Eisley performed 19 selections from their two albums—2005’s Room Noises and 2007’s Combinations. The band opened their set with “Go Away” from Combinations, and continued with favorites like “Marvelous Things,” “I Wasn’t Prepared” and “Ten Cent Blues.” The performance ended with a quick encore of “A Sight To Behold” and “If You’re Wondering.” It was a well-rounded showcase of Eisley’s breezy and whimsical best, mixed with some decaffeinated grungy rock or light country twang. Like a fine-tuned machine, the band seamlessly, and rather mechanically, tore through their set with very little chatter or pauses.

One of the biggest downfalls with the live versions of the songs was that if you weren’t familiar with the tunes already, well, it was basically tough shit because the lyrics were so high-pitched and wail-driven that these girls could have been singing about anything from sea monsters to ex-boyfriends for all you could tell. (They actually sing about abstract things like mermaids, in addition to some real-life love and relationship drama.) Sometimes the songs really just seemed like one giant, cathartic chorus.

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The Bamboozle Roadshow 2008
Saves the Day, Armor for Sleep, Set Your Goals, Metro Station, Lydia
Tuesday, April 15, 2008
Revolution Live

Better Than: Trading a flash of boobs and a blow job for concert tickets on Craigslist.

If partially-bleached bangs cover half your face, chances are, you were at this show. If a flatiron is as essential to you as oxygen, and wearing Vans and anything neon is your perfect getup—then you were at this show. While style originality may not have been necessary to attend this gig, having read the emo handbook Everybody Hurts and not having a regular day job certainly would have helped, especially considering that doors opened at 5:30 p.m. and everyone in sight was underage. But then again, when there are five bands on a bill, starting early is probably the only way to get things done—at least before bedtime on a school night.

Although I’m not entirely certain whether it was that the bands got progressively worse, or that we had all been at the venue for about five hours by the end of it all, the performances grew more tiresome and bland as the evening wore on. The redeeming factor of this tour is that the groups are actually all quite unique, playing ambient indie rock, ’80s synth dance sounds, aggressive hardcore, or whiney, er, dreadfully boring punk pop.

The night’s surprise show-stealers were opening act Lydia—a sextet from Arizona who use poignant male and female harmonies to backup massive, cathartic melodies. The whole barefoot band moved around the stage like a well-choreographed dance troupe, delicately tip-toeing about and gracefully swooping in a waltz fashion. The blond-headed lanky front man Leighton Antelman looks more like a surfer dude than a brooding rocker in his relaxed-fit jeans and loose white t-shirt. The audience was captivated—pausing from their Sidekick chats and scene prowling to gaze at the stage. It was obvious that most of the crowd didn’t know who this group was, but they were definitely into it.

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Iron and Wine
April 12, 2008
Revolution, Ft. Lauderdale

Better Than: A cellarful of John Henry.

Saturday night at Revolution, the 999 other keen-eared indie music types in attendance formed, perhaps, the best-behaved bunch of rock club attendees I’ve ever encountered. The object of their focus: Sam Beam, the man behind the moniker Iron & Wine, whose musings stilled the house into reverence.

Except for a holler of “Fuck” during the first song, an all-encompassing hush it was. Beginning with “The Trapeze Song,” intersecting with “Resurrection Fern,” then segueing through “Jezebel,” Sam and some harmonious sidekick silenced the onlookers until their last syllable. Think Once on a bayou, and you’ll get the idea.

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MySpace Latino's "Show Secreto" with Tego Calderón with Locos Por Juana, Circo, and Beto Cuevas
Friday, April 11
Studio A, Miami

Better Than: Putting your iPod on shuffle

You can’t manufacture cool -- it has to happen naturally. Case in point: Last Friday evening, Myspace Latino's Miami launch concert tried to be all things to all people by cramming every genre under the "Latin" umbrella into one room. It was a weird lineup for sure, with reggaetón, rock en español, Latin jam, and even some disco.

The free concert — you could get free passes by going to the Myspace Latino site — started one hour late with Puerto Rico’s Circo, a group that can best be described as, perhaps, new wave en español. Circo’s singer, Jose Luis “Fofe” Abreu, sported a really cool tattoo on the side of his scalp (it looks like a green snake) and sang his Brit-style ditties with lots of energy. Still, Circo’s didn’t seem to really grab the audience; songs like the popular “Alguien” could have used more vigor from the band. At one point, the long keyboard solo for “Antes Del Fin” verged on pure disco. But overall, Circo put on a good show, and got some people moving with their decidedly retro sound.

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Ivon David Rojas

A vociferous crowd nearly blew the roof off the building Saturday night with an impromtu, pre-concert rendition of Juanes' Me Enamora that shook American Airlines Arena.

Over 20,000 voices sang along to a skit on dual video platforms that showed the Colombian rocker making his way through traffic in a car before appearing on stage. And the peace-yearning, socially-conscious star returned the love with plenty of hair-raising guitar solos, a versatile vocal range and uncanny stage presence.

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