THE DISCO BISCUITS | MISHAWAKA

Providentially billed as Bisco Inferno, The Disco Biscuits graced the stage of Mishawaka Amphitheatre in Bellvue, CO for what would be one of the most intensely glorious, profound and intimate performances of their career, and for this music addict, the greatest live musical experience to date. The setting of the Amphitheatre was so incredibly beautiful that both the crowd and band alike emitted an inspirational energy which resulted in a vibe that shook the Colorado Rockies. This communal feeling is almost impossible to explain in words as a picture is worth a thousand of the former. Walled by steep, arid mountains, the wooden stage was centered in an oasis with a pacifying river flowing directly behind. As the band took the stage to commence the show, adrenaline showered the eager audience and the Trance Fusion Express took flight.

Set one kicked off with a raging "Morph Dusseldorph" that would set the pace of the ensuing musical journey. The following jam covered a number of peaks and valleys before skillfully navigating its way into the end of what would be a phenomenal dyslexic "Spacebird Matingcall" before cashing in on the round trip ticket to destination "Morph Dusseldorph." With a brief pause under the belt, the Biscuits drifted into a peacefully ambient "Very Moon" that exploded into the intricately played composed section before heading off into more uncharted musical territory. This next adventure meandered at the clip of a mountain goat charging its way uphill until it summitting onto the groovy plateau of "Shelby Rose." Launching out of the composed section, The Biscuits patiently spiraled their way up to the climatic apex that was the ending of an inverted "Overture." Turning on a dime the band tightly executed the composed section from scratch. The high energy of "The Overture’s" complex intensity reflected on the following jam that returned to end the set with "Shelby Rose."

The band returned to the stage to cure the musical withdrawal from which the ecstatic audience suffered. "News From Nowhere" eased the crowds’ ailments and kicked off the set with a happy-go-lucky groove that got the horde's dancing muscles warmed up for the insanity that would follow. In order to assure the awe-stricken audience that the show would loose no momentum the band broke into a powerful, re-worked "Bring Your Ass To The Party." The jam raged hard until subtly turning pace into a more spacey trance groove that melted into "Crickets." From here on out the setlist speaks for itself as the Biscuits climbed steadily to a uniquely intense "Basis for a Day." The band then spent the rest of the set piloting their way between these last two songs several more times, intertwining spectacular jams, until the set came to an gorgeously abrupt halt with the closing of "Basis for a Day." The dumbfounded audience was then informed that there would be a third set but all were oblivious as to what could possibly follow that might humble Set II.

The Disco Biscuits rolled onstage for Set III to enlighten the audience that the envelope could be pushed far beyond what had been achieved during set II. The opening cover of Janes Addiction's "Three Days" flat-out raged but was only an eye opener as to the magic that would occur afterwards. Informing the crowd that the band would "play with the river," they cast away into a most peacefully ambient "Magellan." The playing was so delicate that the river was still audible in the background and all could not help but just sway from side to side with jaws dropped in admiration. The following jam built and built, forcing the audience to close their mouths to avoid swallowing the dust kicked up by their dancing counterparts. The jam went everywhere and anywhere before collapsing into itself and restarting a build into the song "Floes." Played in its entirety the song flowed into the end of "Magellan," progressively regressing to the ambience from which it embarked. The reprise section was toyed with before it found its way into "Pygmye Twylyte."

Back at top speed, the Biscuits tore through the composition like a malnourished Mountain Lion and settled into jam territory for more in depth Bisco exploration. Setting their sights on Magners’ new tune "Sly," the Biscuits steered their course in that direction and did a phenomenal rendition of the song. At this second break in the set the owner came out on stage and amiably informed everyone that the crowd was welcome to stay on his property as opposed to driving anywhere and there was some onstage jesting of the venue being purchased on behalf of the Biscuits so that they would be able to host weekly festival events. Erica Lynn Gruenberg then took the owners place on the stage and joined the Biscuits to close the set with what felt like a very intimate, meaningful "Home Again." The energy was through the roof as the Biscuits took a pre-encore breather. The band then came out and kindly provided us with more than we deserved by playing a nice long rendition of "Mulberry’s Dream" before taking bows and bidding all a good night.

The crowd gave an extended ovation before slowly but surely dispersing and migrating to their sleeping real estate. But many were left wandering in an awe-struck state that lasted until the sun rose. Perplexed by the experience that they had endured, unsure of what to think of it all. I was one of those people.

“Earlier this morning, as I sit upon the bow,
In the distance, my homeland, but I just don't know how.
Years along the sea, and I thought I'd find the sun.
Once around the world, and now I think I'm done.”

Ian Koudstaal
JamBase - Fort Collins, CO
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[Published on: 7/24/01]

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