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Beck :: 7.11 by Dave Vann |
It was with incredibly high hopes that we entered the Bill Graham Civic Auditorium to witness Beck. Touring in support of his wildly popular and incredibly impressive new release Guero, the capacity crowd of hipsters (and hipster wannabees) packed the floor and filled the seats circling the notoriously poor sounding venue. Immediately, it became apparent that the evening's performance would be more of a "show" than a musical engagement. This is not always an insult - bands like the Beastie Boys, U2, and Radiohead have more-often-than-not managed to balance the show side with the music. Equipped with a fancy-ass dancer (who could have been Beck's stunt-double), it seemed odd that all the guy did was dance - no instruments, no real role, just somewhat impressive dance moves, but certainly not awe-inspiring dancing in the least. In addition to the dancer, there were plenty of percussive instruments, a very talented bass and drum team, a DJ, and a few other multi-instrumentalists to round out the line-up and support Beck's musical portion of the evening.
Beck's Band :: 7.11 by Dave Vann |
Early renditions of "Black Tambourine" and "Summer Girl" (off Guero) were promising as the sound filled in, and by the time the instrument swapping of "Devil's Haircut" came, things seemed to be heading to fruition. But right as the music began to hit stride, Beck digressed into a medley of hits, barely allowing the songs time to develop, simply quoting the lead line and moving on. There are few things that are less musically satisfying than "the medley." This is common practice for "big acts" and is often why those who consider themselves hard-core music fans have little interest in the big touring conglomerates. This type of practice is clearly meant for the masses, not for the discerning music consumer.
Beck :: 7.11 by Dave Vann |
This is not to say the evening was without its redeeming qualities. For starters, Beck is the epitome of unassuming cool. His aura shines as much as his guitar playing, which was certainly impressive as he switched from acoustic to electric and from slide to finger-tapping. But as enjoyable as the music could be, the "show" aspect was debilitating. At one point, Beck and the stunt-double dancer went into a faux banjo section of. While the two weren't really trying to convince anyone that they were actually playing the string-less banjos as they ran around the stage, I couldn't help but be disappointed and wonder why Beck wouldn't hire a musician who could both play the banjo and dance? Why just a dancer? It seems the band would be better served by a banjoist than a wardrobe-swapping hip-shaker. Just as things would begin to vaguely hint at mockery, Beck would bust out a really cool song like the spacey harmonica and eerie guitar work of "Scarecrow," at which point those in the crowd who were not there just to hear that song (whichever song that may be) would be forced to smile and realize his genius. It was this type of duality that kept the more critical fans there and the more easy-to-please ticket-buyers in oblivious bliss.
Beck :: 7.11 by Dave Vann |
Catchy, party-vibe songs like "Loser" and "Guero" were balanced by acoustic Sea Change-era material, often forcing a herky-jerky flow in delivery. Further adding to Beck's mystique was the appearance of an odd instrument the likes of which many had never seen. While not musically mystifying, it was very enticing to watch Beck "play" what looked like a file cabinet with a hinged side. The strange object worked somewhat like an accordion with a flap-like wall that would rise and fall on a forty-five degree angle causing music to exhale out. Interesting to say the least, the instrument was a fine complement to the sheer coolness Beck radiates.
As impressive as it was to watch Beck recreate what he does on record, and while the man is clearly a pro, the evening was lacking in that live-fire action, that intense focus on the actual instruments that drives many a show-going experience. There was no magic, no mind-reading, and very little attention to the details of the compositions. Although it was fun to see Beck, and as infinitely cool as the man is, if you're on a tight budget you'd be better off spending your money purchasing Beck's amazing catalogue and getting ripped to it in the comfort of your own home.
Kayceman
JamBase | California
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