Wilco Rocks Tanglewood To Full House
Roll Over Beethoven
By: Charles Giuliano - Aug 13, 2008
The largest Tanglewood crowd of the summer, since two sold out performances by James Taylor over the Fourth of July, packed the Koussevitzky Shed and swarmed on the lawn, last night, to hear Wilco one of America's top rock bands. It was shake, rattle and roll on the hallowed grounds in Lenox, Mass. the traditional summer home of the Boston Symphony Orchestra.
On many levels it was a historic and precedent setting occasion. It was a clear and triumphant response to an often contentious debate that Tanglewood should loosen up and present a wider range of musical experiences during its summer season. Mostly that has meant more appearances by Keith Lockhart and the Boston Pops, the season ending Tanglewood Jazz Festival, John Williams Film Night, and the occasional Broadway performer such as two sold out nights this season in Ozawa Hall for the 80th birthday of Barbara Cook.
It seems to be a lock that the Tanglewood season starts with Mark Morris and his dance company, Garrison Keillor and a live broadcast of his Prairie Home Companion, and fireworks for local talent James Taylor. When the 2008 schedule was announced the major innovation of artistic director, James Levine, was to include more opera. Somehow that Wilco date was inserted unobtrusively. While the nabobs hectored and the BSO held its breath.
While the BSO declines to give hard figures for revenue and attendance it has been widely discussed that Tanglewood, in recent years, has lost some of its luster. And, for business and tourism, as Tanglewood goes, so does the Berkshires. With its great history and tradition, as well as deep pockets, the BSO has been reluctant to respond to wide demands that it make the program broader and more accessible. It is widely considered to be crucial that Tanglewood reach out to younger audiences. For most evenings in the Shed the median age is 65.
Last night, in a bold and vastly successful experiment, Tanglewood not just stuck its toe in the water but plunged in over its head. There was a learning curve as the BSO management considers options for next season. Selling out mid week, mid season is an argument that cannot be ignored. But the organization did not appear to be prepared for just what it had taken on. The event was priced to sell at $36 in the Shed and $26 for lawn seats. This was well below the norm for Shed seats and a tad above the usual price of $17 on the lawn. Bottom line it appears that a lot of potential revenue was left on the table particularly when the concession stands were overrun. It is usual for top bands such as Wilco to get as much as 90% of the gate. So one may only speculate as to just how much profit the BSO realized from the evening. Often seats for top rock tours are priced at $100 and up. In that sense Wilco was dirt cheap.
The issue of security must be evaluated. When the band came on stage, in the best rock tradition, everyone stood up and fans rushed down the aisles to swarm in front of the stage. Trying to hold them back and clear the aisles were the usual, elderly, volunteer ushers. They were overwhelmed. One or two ushers labored all night to keep the aisles clear and now and then local police were visible. There were total gonzo, space cadets cavorting about with impunity. Including the duo of air guitarists who jammed past us into our row.
While 99% of the audience was appreciative and well behaved it is in anticipation of the contingent of wackos that the norm for rock promoters is to provide muscle men in t shirts skilled in crowd control.
When we arrived in time for the 6:30 PM set by Andrew Bird the Shed was about half full. Bird proved to be an interesting artist who performed quirky, folky rock tunes with special effects on violin and guitar. His approach to the violin included pizzicato plucking as well as strumming and bowing. Now and then he accented the music with a single mallet struck on a small set of vibes. At times the music was conveyed through a whirling gramaphone like device that distorted and warped the sound.
During the break between sets, before Wilco came on at 8 PM, we strolled around on the lawn to get a sense of the demographics and mood of the audience. It was encouraging to see so many teenagers and families with small children. There were the usual elaborate picnics. Wine and beer appeared to be the intoxicants of choice while we encountered the occasional whiff of ganga. As we made our way back to seats in the Shed there was a constant stream of new arrivals. The pre concert estimate was 5,000 in the shed and another 5,000 on the lawn. But given a gorgeous evening it seemed more like another 10,000 on the lawn. Which is a lot of cabbage at about $425,000.
The crowd went wild went Wilco came on stage. For most of the evening the audience sang along. They were clearly fans who had come in from all over the North East for this performance. On this tour the closest other gig is Brooklyn. And, of course, nothing matches the ambiance and lure of Tanglewood.
"We are honored to play here" said Jeff Tweedy the lead singer of the Chicago based group which was formed in 1994 from members of the former alternative country band Uncle Tupelo. The band has had its ups and downs ranging from two Grammy Awards, in 2004, for their fifth studio album "A Ghost Is Born" as well as a cancelled tour when Tweedy went into rehab because of painkillers to treat chronic migraines. One of the group's albums largely focused on songs related to his marital problems. There have been resignations over artistic differences. Reprise Records fired them but released the tapes for their most successful album "Yankee Hotel Foxtrot" which sold 590,000 copies. This year their album "Sky Blue Sky" was nominated for a Grammy Award in the category of Best Rock Album.
During their performance it was richly evident why Wilco was a perfect fit for Tanglewood. For the most part the music was catchy and accessible. There was a great emphasis on the evocative, poetic lyrics which were accented by Tweedy on amplified acoustic guitar. On bass was another original band member John Stirratt. The other musicians include: Guitar and pedal steel, Nels Cline, multi instrumentalists (keyboards/ guitar) Pat Sansone and Mikael Jorgenson, and drummer Glenn Kotche. The six musicians were occasional augmented by a horn section of trumpet, baritone sax, and trombone.
In the normally sedate Berkshires it was terrific to hear a first class rock band. The area does not sustain even a modest music scene. Clubs are small, few, and far between. So everyone was up for a down and dirty party night. Big time.
During a ninty minute set followed by encores that added another forty minutes Wilco touched on all aspects of their repertoire mixing hits and new songs with rarely performed pieces. They opened with "Either Way" and followed with a Woody Guthrie tune "Remember the Mountain Bed." The evening proceeded with; "Hummingbird" "Muzzle of Bees" "I Am Trying To Break Your Heart" "Shot In the Arm" "What Light" "Walkin" "Hate It Here" "California Stars" "Handshake Drugs" "Pie Holden Suite" "Summer Teeth" "The Late Greats" "Heavy Metal Drummer" "Monday" "Outtasite (Outta Mind)" and "I'm Wheel."
"Mahler, Mahler" Tweedy shouted ironically. It was his way of acknowledging the great history of the Shed. He noted that even at Tanglewood there was graffiti in the men's room back stage. "On the wall it says Music is Gay" and he speculated that it may be decades old. He encouraged the audience to sing along just like "Mitch Miller, I wonder if he ever played here." When he led the audience into clapping along setting up a thunderous clamor he asked if "James Taylor gets you to clap like that?" The band was both awed by the tradition of the setting while kicking out the jams.
Their music was diverse with an eclectic range of influences. They were decked out in colorful Nudie's of Hollywood outfits that evoked Hank Williams and country music. "We were up all night sewing" Tweedy quipped adding later that "I'm glad we wore the suits." My vintage Nudie suit has been in the closet in recent years. I bought it while hanging out with Elton John in LA.
In addition to the tuneful alternative country/ rock flavors of the band they also proved to be experimental. There was an excursion into Noise and passages that evoked the Velvet Underground or John Lennon from "Revolver" or the "White Album." During these segments Tweedy swapped one of his many acoustic guitars for a rock model and traded licks. While a superb singer/ songwriter Tweedy also displayed impressive chops when the band ventured into jams and instrumental sequences.
Apparently, part of the complex and checkered career of the band has been its struggle to find a groove between creating catchy, hook laden, radio singles, and the challenge of pushing the envelope with more experimental music. It is that range and depth that places them on the short list of best American bands.
In concert last night they were, well, just awesome. Let's hope that Tanglewood gets the message and pencils in more such evenings next season. Nothing succeeds like success and it is the best way to silence the critics. Shocking.