It was another perfectly balmy and wonderful night at the Hollywood Bowl, and this one was even more special because I was seeing the marvelous Rodrigo y Gabriela for the first time live. And WOW. I'm a fan for life.
The program opened with the ever-charming Gustavo Dudamel and the L.A. Philharmonic performing a series of Latin-themed numbers to set the stage for the dynamic duo from Mexico who would join the show later. After The Star Spangled Banner (which we again made it in time for, I'm happy and amazed to report), the orchestra immediately launched into the lively "Nereidas de Dimas" from Salon Mexico by Perez. This number set the tone for the all-out fiesta that everyone in the Bowl had been invited to - and was feeling it.
"Good evening, Buenas Noches!" shouted Dudamel, welcoming everyone to this absolutely beautiful night of music. "We are having fun up here! ... and now we will travel from Mexico to Cuba for a piece called El Caiman, or "Xylophone" - you will see why." The rare xylophone showcase piece by Paul Desenne was full of energy and African rhythms, and yes, a xylophone spotlight. And it was great. The whole place was in a great mood, and I think it was because Dudamel's happy energy is so infectious, you can't help but enjoy yourself. We were loving it, and then we took another musical flight, this time to Argentina for Piazzolla's Oblivion. "This tango is about contemplation of the past, and it is very romantic," explained Dudamel in his charming accent. He was right - what a romantic, beautiful tango of a piece that one was ... swoon! I like it that Dudamel thought so too, saying, "Ahh, it's wonderful, so beautiful!" Totally.
Then we flew back to Mexico (where I will also be flying for my birthday adventure this coming weekend, so this was a wonderful way to kick off the week!) for their "Second national anthem", the great Huapango by Moncayo. There were choppers flying overhead during this one, providing their own interesting percussion, but the crescendo of the music soon made you forget all about them, especially when the gorgeous harp was playing. Dudamel again must have felt the same as we did, as he was beaming all throughout his energetic conducting of the Mexican classic. Our L.A. Phil is SUCH a treasure, and when playing under the stars at the Bowl, it just can't be beat.
Unless you next bring out Rodrigo y Gabriela! The guitar virtuosos took the stage casually, both in dress and demeanor, but the huge cheers before they played a note hinted at the bigger deal that it was. Rodrigo had blue hair for the occasion, and you could tell that they were both fired up to play. The crowd was equally fired up to listen, clapping along from the start of their first piece, "Hanuman". This exciting duo is truly a musical force, and had the entire Bowl mesmerized and immersed in the tunes the whole time. This isn't always easy when it's brand new songs that no one has heard, but no matter. They could play anything and we'd be into it. After the first one, the joint erupted in applause, and Rodrigo said, "This is our fifth time playing the Hollywood Bowl ... it's like magic that we come here without rehearsing and these musicians read papers - and they PLAY. It's fucking amazing!" It really was.
They were playing all new tunes from the new album they're working on now ("The songs are so new I don't remember there names" - G.), and from the sounds of it, it will be a must-own. Gabriela is not only a complete bad ass guitar picker, she is also perhaps the cutest person alive, I'm pretty sure. Her sweet voice when saying, "Buenas Noches, what a treat, it's like Santa Claus at Christmas!" made everyone fall even more in love with her and her playing. As a man about halfway back yelled, "I love you, Gabriela!" echoing everyone else's thoughts.
"Mexico where we live is a beautiful place to get inspired (yay!)", said Gabriela, as she explained that on this new album they worked 9-4, "like in an office". The L.A. Phil had to race to keep up with their breakneck speed-playing, and arms got weary trying to clap along fast enough. My notes simply say "WOW!" in a lot of places. Dudamel's face looked like he was thinking that too. Gabriela said after that one, "I want to say I have a feeling of being very grateful ... we are so lucky to be living this life in this moment ... and now we play 11:11, the title track of their also-named album. She was right, too. We were ALL so lucky to be living this life in this moment ... and I think everyone knew it. It felt special. To where when that one ended, Dudamel said, "Isn't it amazing, this?!" Agreed, 100%.
"Let's have some fun!" said Dudamel before they lit into "Tamacun" ... which we continued to do until the last note. When that last note happened, Gabriela's "Hippie message of the night" was for everyone to please recycle more! Thank you so much, bye bye! There was a standing ovation - of course - and Rodrigo, Gabriela and Dudamel all took a bow together before the L.A. Phil left the stage. There was a brief intermission before Rodrigo y Gabriela came back out together, just the two of them, and sat down on the lip of the stage to fully enchant the entire Bowl with just two people and two guitars. They play off of each other so well, with Gabriela's rhythmic percussive playing and Rodrigo's intricate finger picking ... the two parts make up a majestic whole. It was just SO beautiful ... and the entire audience was on their feet clapping along for the remainder of the show - even a little baby in the box next to us was all about clapping along, in a show that was truly one for the ages - and all ages.
For the final set, they first teased Extreme's "More Than Words" to laughter, before we were really treated to "Cumbe", "Echoes" (a Pink Floyd cover), and their own classic, "Diablo Rojo". People couldn't get enough of it, but it had to end, and did with another thunderous ovation for the remarkable talent of Rodrigo y Gabriela. Again ... WOW. Everyone was still bouncing from it as we all danced out of the aisles and out into the Los Angeles night ... truly feeling grateful for having lived this life in this moment, as Gabriela had said. This was a show we won't soon forget, and I'm so happy to have finally seen this delightful duo play live.
What a wonderful start to Mexican birthday week! Gracias!!!
Björk Digital opened in downtown Los Angeles last Friday, and it is truly one of the most creative things you will ever experience. I was fortunate to attend the press preview for this visual extravaganza from the mind of the Icelandic real life folk hero named Björk. I've adored her ever since I first heard her singing "Birthday" with The Sugarcubes on a mix tape a California boy I liked had sent me, so I was thrilled just to be there. Her voice was otherworldly, and wholly original, set apart from absolutely everyone else on Earth ... because she doesn't seem to really even be OF this Earth.
That truism was further cemented with the opening of this incredible virtual reality exhibit on now through June 4th (so act fast!) at The Music Box at The Reef, a kind of odd office building in a rundown area with this maze of wonder going down in its basement. I ran into some friends in the lobby, and we were all bursting with excitement to be able to be the first ones to view this show in its West Coast premiere. After some coffee and Icelandic water, we were escorted into the theater room for a press Q and A with the major Björk collaborator and the director of three of the exhibit's videos, Andrew Thomas Huang. The L.A. Philharmonic is presenting this show as part of its Reykjavik Festival (wherein Björk will be performing with full orchestra at Disney Hall on May 30th), and the Phil's Johanna Rees welcomed everyone to this opening. Huang began the Q and A by introducing a special guest ... Björk!
She was there live via Skype from New York as an action capture avatar, and adorable even as a futuristic space alien. Her speaking voice is so sweet you just want to record it and have it with you to cheer you up when you need it, and glancing around, you could tell that everyone there was completely enchanted. Rees asked Björk why it was important to bring this exhibit to L.A., and she replied that she had to go with the flow after her new album (around which this show is centered) Vulnicura had been leaked, and she improvised to come up with something spectacular to mark its release. Mission accomplished.
The show has already seen great success in Tokyo, London, Iceland, Montreal, Mexico, and Houston, so please try to go if you can. It's something else. Someone asked how Björk had affected other artists in Iceland, and she said, "People have blind spots about themselves, but I went abroad and made the nation think that they can do it too." When asked if the Disney Hall show would have all these visuals, she responded that "All the focus will be on the music. I'm fond of extremes, as you may have noticed, so this will be all about the ears, and no visuals." But, she added, come to the FYF this Summer and there will be lots of surprises ... YES. Huang got some technical questions about film making in v.r., and Björk chimed in that "It reminds me of the future." I love that.
One reporter asked about Björk's own listening tastes, and she said she listens to so much music that her playlists are 17 hours long. I had never heard of no one she mentioned, which is just how you'd want Björk's tastes to be. She did say that she has been listening non-stop to "Ethiopian vinyl" ... Rad. Working with local orchestras has been a great way to incorporate local sounds into the performances, which I thought was cool. I thought it was REALLY cool, however, when I got to ask Björk a question LIVE. I asked how being such a performer, if this show with really no audience feedback to her was as satisfying. She never really answered that question, instead going off on a very great bunch of tangents about the differences between her live orchestra shows, her D.J. gigs, her recorded song versions, her new composition book, 34 Scores, for people to play and sing her songs at home with family, and said that whatever medium she uses, "My intention is to reach intimacy with the listener," and added that the virtual reality is her at a distance, but it's actually even more intimate than a concert or c.d. experience. She was right, because within this exhibit, you pretty much inhabit Björk's body and mind.
The exhibit is fairly easy to put on, as it's really a bunch of headsets in empty rooms, and as Björk said, "The magic happens in the headsets." After she said an adorable "Thank you" and the avatar waved, signing off, it was time for us to experience that magic for ourselves. We watched the premiere of her "Notget" video, directed by Warren duPrees and Nick Thornton Jones. Björk is a woodland moth-like creature emerging from the Earth, and I don't think it's hyperbole to say that while watching it I could only think, "Björk is the most creative person living today." She just is.
After the video, we lucky few in the first group to go through the exhibit went to the "Biophilia Room", an educational space that has a bunch of Ipads with apps custom developed by Björk to teach about music and science. I didn't really get it, to be honest, and would need a whole bunch more time to check out the apps, as they're pretty involved, and the proceedings need to keep moving along, as everyone is on a timed ticket. There should be (and maybe there is) an app you can just fool around with at home.
The first v.r. video we saw was "Black Lake", an immersive experience directed by Huang, where you walk around a room surrounded by 50 speakers. You listen to the pristine sound while watching emerge from a bunch of dirt as a waterfall cascades out of her body. Her masks and costumes are utterly incredible, and it's hard to keep your jaw from dropping all the way to the floor.
Moving right along ... to "Stonemilker", a 360 degree experience directed by Huang where you sit on a stool and rotate around to see Björk dancing along the Icelandic sea in a yellow dress, singing about "emotional respect" as the waves crash on the volcanic sand all around her ... take a look (and rotate it!):
"Quicksand" was directed by Neri Oxman, of a show Björk performed in Tokyo in a 3D printed headpiece that was again simply amazing. Part two of this room was "Mouth Mantra", directed by Jesse Kanda, and the only one that made me kind of sick. The whole thing is shot from inside of Björk's mouth, and as it all swirls around, I thought I might throw up. It's pretty intense, and I was cool for this one to be over and remove the headset, but also totally impressed again by its creativity.
My favorite room was "Family", again directed by Huang. You're tethered by your headset to keep you from smashing into things, but you get handsets that allow you to create right along with Björk there in her world. I actually walked through her body, and it felt extra strange - and had me wishing I'd eaten some edibles before I got there. You spin yellow swirls around via hand triggers as you move through what seems like outer space along with Björk in her awesome costumes. This one is the centerpiece of the whole thing, and captures Björk's emotional journey "from despair to empowerment", according to the materials. It. Was. So. Cool!
"Notget" the v.r. version is less interactive, and you stand there while a golden Björk dances right around you, super in your face. Once again, I was fully mesmerized by the outfits, and want only to wear one like hers someday ... just completely out there and over the top and driven only by fantastical imagination and unparalleled creativity.
The last stop is back to the Cinema Room, where you can sit on the floor on pillows and watch up to two hours of all Björk's past - and stunning - videos. I took in a good few before my friends in the group after me caught up. We all compared notes, and all unanimously named this as the coolest thing going on now in Los Angeles. There is also a merch area at the exhibit's check-in area, so you can take home a memory of your time with Björk - not that you'll ever forget it. I really, really hope you get to see it while it's here, because you will remember it for always. Sincere congratulations to all of the über-creatives who made this
experience possible, because you are all at the very top of the game today. And see the fantastically wonderful Björk any chance that you get, because I've seen no one out there creating as impressively, and as consistently, for so long and so beautifully. Wow. Just WOW.
Tusen takk, Björk and the L.A. Philharmonic!
Björk Digital is on now through June 4, 2017. Magic Box at The Reef 1933 South Broadway Los Angeles
*Q and A photos by Jeanette Oliver
**"Notget" stills courtesy of the L.A. Philharmonic
Jeff Lynne's ELO and the L.A. Philharmonic just shared a three night stand at the Hollywood Bowl and those shows were something to behold. The truly nightmarish Friday night traffic (Thanks, Vice President Biden!) came close to road rage inducing, but the show served as an excellent balm to frazzled nerves once inside the Bowl. We were late, but we were not alone, as hundreds of people were pouring in still behind us. The Bowl staff holds you from your seats until there's a break in the music, so we missed the National Anthem and the first orchestral selection, but it sounded lovely from the concourse.
Once settled in to our seats, the pastoral sounds of a Vaughn Williams March, "Seventeen Come Sunday from English Folk Song Suite played beautifully by the L.A. Phil (conducted by cool cat Thomas Wilkins), instantly relaxed the vibe. It helped that the entire Bowl was a light show, so all senses were fully alert and stimulated. It was awesome right from the beginning, and only got better as the night progressed. Wilkins has a great way with explaining classical music, and a sharp wit, so you look forward to his commentary as much as the music. "You an almost smell the fresh air of the English countryside," said Wilkins, and he was not wrong. that led into two pieces from Sir Edward Elgar, the first being "Nimrod" from his Enigma Variations. It was written for his best friend, and as Wilkins described it, was "Music inspired from true love." You could absolutely feel it.
As the gorgeous sounds swirled around us, so too did all kinds of lasers and prisms and spaceships not only on the jumbo screen, but projected on to the actual Bowl bandshell as well. It felt like we were actually WITHIN the music, and it was excellent. When they closed the first part of the show out with Elgar's Pomp & Circumstance March No. 4 in G, Wilkins said it was not only one of the most beloved works in England, but in all music - and it was clear to see why. It was so transcendently beautiful that even Wilkins raised his firsts in triumph at its conclusion. What a joy.
Intermission was fun as we met and chatted with our very cool box mates and people around, all of whom were thrilled to be getting to see ELO after like 30 years since they've played the U.S. When Jeff Lynne and the current line-up of his ELO came out with the L.A. Philharmonic players, the place just went nuts. They lit right into "Evil Woman", stoking everybody in there, but none more than the man a few rows in front of us who turned into a dancing machine the moment it began. He was almost as entertaining as the very trippy light show, and that's saying a lot. I've never done acid, but I kind of felt like I had when watching this light extravaganza.
I was also having strong childhood AM radio memories, as all of these ELO songs were hits from back in the day. "All Over The World" featured a world map of lights - and more strong dancing from the Dancing Man, who at this point jogged up the aisle and bumped fists with us all. STOKED. I was happy for him, and maybe a bit jealous that I didn't share his dancing nerve. Lynne addressed the crowd (with his sunglasses at night), saying it was his first time ever playing the Bowl, and that it was beautiful and marvelous. He was fully correct. Before jumping into "Love and Rain", Lynne introduced his daughter Laura, who was performing with him on backup vocals. It was sweet, because you could tell she wasn't all that into being thrust into the spotlight, and also tell how proud he was to be doing it. "She's a lovely girl, and she sings good too!" Dads.
"Livin' Thing" was a real highlight, as it was clear it was many in the crowd's favorite song - but then that was a phrase I kept hearing throughout the show, so there were many highlights for many people. Everyone was up and dancing, and it really was as magic as the lyrics imply. The screen turned into a lava lamp-like projection for "When I Was A Boy", and I thought how awfully similar Lynne sounds to Paul McCartney at times, but especially on this one. "Don't wanna work, just wanna play my guitar instead" probably inspired many young boys, like the one that was now all the way grown and shouting, "YEAH JEFF!" the moment it was quiet. I get it.
A woman sang an operatic aria to open "Rockaria" and the Orchestra really shone on this one too (as they did on every single moment, to be fair. They're incredible!). "This is my favorite song!" chimed in my friend in my box for the opening chords of "10538 Overture" that also featured virtuoso playing from Orchestras, both electric and regular. SO good. "Can't Get It Out Of My Head" was extra dreamy, probably made more so by the pretty much required and massive clouds of ganja floating overhead. There were all these new prism like lasers flying around and when I mentioned that I'd never seen those light show things, the guy next to me said, "Oh, that's just you, I don't see anything" - just to mess with me. Which was appreciated.
"Shine A Little Love" turned the Bowl into a complete Disco dance party, and the ushers pretty much gave up hope of keeping people out of the aisles, as a LOT of love was being shone. "Wild West Hero" might have been my favorite, as it was accompanied by stunning visuals on the screen, and wonderful a cappella harmonies. It was super inspiring, and made me and everyone else really, really want to be wild west heroes. Of course. Lynne introduced his longtime piano player, Richard Tandy (who also shone on a voice box ala Peter Frampton!), but left the introductions of the rest of the players up to his band leader (it must rotate fairly often). They resumed with "Telephone Line", and it was here that I noted that the entire show was a veritable feast for every sense, with all the music and lights and fresh air, and wonderful food for the belly as well. The Bowl is the best and that's just that.
The classic rocker "Turn To Stone" was rad (as were the asteroid field visuals), and "Sweet Talkin' Woman" was equally great, but the place REALLY went off for "Don't Bring Me Down" which changed my mind and was now my favorite (my notes say "Everyone LOVING it!"). "Mr. Blue Sky" was equally joyous, maybe even more so. The band took a triumphant bow with Wilkins after this one, and they all turned their backs to the audience to get a selfie with us in the background. I'd like to see it, because everyone must have looked SO happy.
Everyone came back for the Fireworks Finale, that really was spectacular. "Roll Over Beethoven" was the selection, and the Orchestra began with the very serious/famous tones of Beethoven's 5th, then the ELO came in with the rock, and had there been a roof, it would have been obliterated off at this point. The Fireworks burst in the air above the Bowl, the screens were full of spinning records and more trippy lights and the crowd was absolutely thrilled. All the players were working so hard that I thought to myself how weird it must be to not be seeing how very cool it all looked above and around them. As the last notes rang out, the performers were met with such an ovation that their ears are probably still ringing today (especially after two more nights of this!). It was simply wonderful, and I didn't even know how much of a fan I was until I experienced this show.
Another fantastic show at the incredible treasure that is the Hollywood Bowl. Many thanks to all involved in creating a unforgettable night of music and spectacle. ELO!!! Awesome.
* Photos courtesy of The Hollywood Bowl and Matthew Imaging.
Composer John Williams is known as the "Maestro of the Movies", so it was fitting that he conducted the L.A. Philharmonic in a celebration of film music for three nights at the Hollywood Bowl this Labor Day weekend. Williams has been nominated 50 (!) times for the Academy Award and his compositions for such classic films as all of the Star Wars films, E.T., Jaws ... are some of the most iconic scores of all time.
It was a perfect night out as the audience filed into the Bowl with their picnics ... and it appeared as though nearly everyone in the crowd was carrying a light-up light saber with which to conduct from their seats. Some took it even further, showing up in full Jedi costume, letting you know what they were really there for.
The first half of the program was to be conducted by David Newman, of the illustrious Newman film composing clan. He came out to conduct the Star Spangled Banner, and I can report that I believe all of us stood up for it - and even felt a bit choked up over it (at least I did). From there it was a pure celebration of cinema, specifically a salute to films from Paramount Pictures. As the orchestra began the suite from Forrest Gump, a montage played on the big screen above, serving as a reminder of everything that we love about the movies. Classic clips were met with laughter, sighs of recognition, and if you were the charming little boy sharing my box, constant oohs and ahhs over the wonder of it all. It was seriously great. We got a suite from Sunset Boulevard with the overly campy clips from that black and white gem, the theme from Sabrina, North By Northwest, and one Newman said he was sure we'd recognize, that turned out to be themes from The Godfather, that everyone ate up. As you watched the screen, you really forgot that you were listening to a live orchestra playing, so perfectly synched were they with the clips. It's real impressive.
Newman is a good storyteller as well, and explained how music for film is truly an art form, as you try to help tell the story with music vertically, while the visual is horizontal, and that it really is a collaboration with the film itself. It was interesting, but more than anything it made me want to see every one of the films shown all over again. Newman had nothing but the highest praise for John Williams, and spoke to what an honor it was to share the stage with him, before launching into his final piece for the night, the opening sequence from Star Trek: Into Darkness, with the scenes from the film playing above. I'd never seen that show, and this made me want to. I was happy to realize that I'm starting to know the faces of various orchestra members, which makes me happy. These people have made their careers at something that most of us dropped after high school, and I'm endlessly impressed with each of them. As they took their bows, Newman shouted, "Bravo to John Williams!", and conceded that stage to him to take over after intermission.
The INSTANT the lights went down again, all of the multi-colored light sabers came out and it was magical (but I can't show you due to the Bowl's very strict photo/video policy. Sorry. Check out Youtube.) It felt exciting ... and it was. A massive ovation spread across the Bowl as Williams strode on to the stage, with the entire place showing their reverence. Williams thanked everyone for being with him at "the Summer home of the L.A. Philharmonic", thanked Newman, and told everyone how Newman's father, Alfred, had given him his first gig as a piano player for his first film, South Pacific, in 1954 - the year the younger Newman was born. Full circle.
Williams and the orchestra kicked things off with the "Flight To Neverland" from Hook, followed by the suite from his latest Spielberg collaboration BFG. Both were met with great applause, but nothing like what was to come. By way of introducing the Star Wars portion of the night, Williams cracked, "Many of you will have seen this film ...", bringing much laughter as these fans had their hearts vividly on their sleeves. The big screen filled with images from the films, and the place just went nuts, as all conducted along with Williams with their giant glow sticks.
All the most memorable pieces were played, from the Jedi anthems to the Imperial March. Williams revealed that on the first film he didn't know there would be others, so initially thought Luke and Leia would end up as lovers - not brother and sister - and composed it as such, with a kind of hot climax. It still worked, obviously. He also shared that he had just signed on to compose the next film in the series, as he had become "smitten" with the character of Rey, and couldn't imagine anyone else creating music for her. "Rey's Theme" is beautiful, and flowed wonderfully into the "Throne Room" and "Finale" pieces. When the last notes of the finale rang out, people lost it. Clapping, whistling, hollering, begging for more. Some members of the orchestra how had light sabers that they waved back, and Williams waved back along in time.
Williams left the stage, only to return for the Harry Potter theme. Then left again and came back for the theme from Superman. Then left again and returned for the theme from E.T. The Extra Terrestrial, which nearly killed everyone with happiness. The crowd would not let Williams go. He left the stage again, and we all thought it would probably be for Jaws when he returned, but he made the international hands together with cheek resting on them sideways symbol for "I'm going to sleep".
We'd already been given so much that that was o.k. The charming little boy sharing our box had made it through the entire show without falling asleep, and when I turned to ask him how he's liked it, he said, "Wasn't it beautiful?!" I could not have agreed more, about the night and about the fact that a young boy had been so moved by music and film - and probably light sabers. I added that I liked his little bow tie, and he said, "I'm fancy on the outside, and awesome on the inside!" ... again, kind of like the night, and orchestral music in general. It feels fancy and proper and grown up, but how it makes you feel on the inside is exactly that word - Awesome.
Thank you to John Williams, David Newman, the L.A. Philharmonic, and the wonderful Hollywood Bowl, for another magical night under - and among - the stars.
Ben Harper and The Innocent Criminals played with the L.A. Philharmonic for the first time ever at the Hollywood Bowl on Friday night, and it was nothing short of breathtaking. It was the perfect Summer evening under a full moon, and the crowd gathered together at the Bowl was in a fantastic mood. For good reason. Harper has reunited with the Innocent Criminals - a great thing - but this time they had about 50 more in their posse, as the Orchestra players joined the band for this one special night.
There was an air of anticipation and excitement above it all, as people knew this was historic, that Harper had never played with a full orchestra before - and in his hometown - so the also historic venue was full of family, friends, and longtime fans. The buzz grew as the seats filled with picnickers and the sun set as the moon rose.
The opening act was City and Colour (aka Dallas Green), with a solo acoustic set. He (and it's just a lone guy ala the trend of guys naming themselves a couple of things, like Iron and Wine) was an interesting choice to open, as it was pretty mellow. I'm comparing it to the utter disco inferno of Harper's openers the last time at the Bowl (Fitz & The Tantrums), who really got the night going. Green's slow songs mostly about death were not nearly as invigorating, but that didn't stop several gals from shouting, "I love you, Dallas!" throughout his set, putting us all at ease that Green is indeed loved. Or was loved, as the rest of his songs were about lost love. "Just keep your negative tweets to a minimum," Green implored, and I'm sure that worked out, because after he closed with his popular "Lover Come Back" song, he had certainly created a bunch more new fans. Green left the stage saying, "Thank you to Ben ... You're in for one hell of a night!" Yessss.
A brief intermission (soundtracked by Nick Drake) followed, where people poured more wine and stretched. I also noticed a lot more grey heads in the crowd. Grey heads getting coffees for the show. Harper has been playing his multi-genre music for decades now, and his ardent fans have now grown up with him and are sharing his music with their families. It was very much a family affair.
Harper and his original Innocent Criminals took the stage kind of subtly, other than the spiffy suits they wore for the occasion. They got right down to business with a fiery version of "Fight For Your Mind" that featured a guitar and bass battle between Harper and crowd favorite, bassist Juan Nelson. Nelson SHREDDED his bass apart, and Harper graciously cried "Uncle" before the song merged into Buddy Miles' "Them Changes" with Nelson on vocals. The gauntlet was thrown even before the notes of the first song had died out ... and the Orchestra hadn't even shown up yet!
"Thank you! It's a privilege to be here with you tonight!", shouted Harper over the roaring applause. They went right into the very Rastafari number "Finding Our Way" from the latest BHIC album Call It What It Is. The Bowl was lit up in reggae red, green, and yellow as Harper tipped his hat to Bob Marley with a snippet of "Trenchtown Rock" woven in for good measure. "One good thing about music is when it hits you feel no pain!", Harper sang as we all for sure felt absolutely no pain, because this night was already ruling. Harper must have thought so too, as he looked around seemingly in awe of it all. He name checked a bunch of Inland Empire towns ("Claremont! Cucamonga!") and added, "Your boy made good." Indeed, he did. And when the band lit into the dreamy "Into The Colors", everyone let him know with their whistles, cheers, and yes, "I love you, Bens!"
That one was utterly lovely, and then the entire Bowl sang "Happy Birthday" to guitarist, Relentless 7 hold-over, Jason Mozersky, as a roadie brought out a cake for him to quickly blow candles out on before they went into "Shine", the new one with the catchy, "If you were all I had, I would have it all" chorus.
People loved it, but you could tell they were not yet as familiar with it as the ones like "Welcome To The Cruel World" that came next. People roared to hear the opening chords on Harper's signature Weissenborn of a song that is over 20 years old now - and as great as ever.
The night would only get greater from there, as Harper brought out L.A. Philharmonic conductor, Thomas Wilkins, to introduce the orchestra. "Good evening, Brother!" said Wilkins as he gave Harper a bear hug, in what is clearly a friendship based on mutual admiration. Wilkins said he'd been to Harper's family music store in Claremont and was "like a kid in a candy store" as they are both "instrument geeks". Wilkins asked Harper at what age he switched over to the Weissenborn, and Harper answered that he never switched, "That's where I started." As the musicians filed onstage, Wilkins asked when was the last time Harper had something like this behind him, to which Harper replied, "I've NEVER had something like this behind me before!" - letting us all know that we were in for something extra special.
The orchestra began tuning, and Wilkins said, "This is my favorite sound, because it means it's time to rock and roll!" It sure was. Harper turned around, taking it all in, and said, "That's a lot of Innocent Criminals, huh?!" The extra Criminals were dressed in white, setting them apart, if their clarinets, harps, horns, and strings didn't already do that. They began with the title track from the new album, the very heavy, social justice track "Call It What It Is (Murder)" that calls out murdering police officers to their faces. It had an extra weight with the orchestra playing behind it, and the band was TIGHT (which seems miraculous when you know how little practice there must have been with how much Harper tours). It felt important - and it is.
"Amen, Omen" with its majestic, soaring strings brought me to tears for the first time of the night - but it would not be the last. There's just something about symphonic music that touches my heart directly, and when it's being played over some of the most lovely, heartfelt lyrics ever, you just better have brought some tissue along. I wasn't alone either, I saw people dabbing their eyes - male and female - plenty on that one. The strings section was really showing off throughout, in fact, as they wove their magic through "Forgiven" next, and the whole thing was so gorgeous that Harper would turn around to listen to them during his lyrical rests. It was truly something else.
As was "Power Of The Gospel". First of all, for any act known mainly for rock and blues to come up with this beautiful gospel hymn to above and sing it so raw and meaningfully is pretty dang rare, but then to have it be accompanied by an orchestra of this stature, it really was a religious experience. Complete with the requisite guy yelling out, "Take us to Church, Ben!" He did, and he sang his heart out while doing it - taking off his hat out of respect while doing so. Wow. Just wow.
The crushingly beautiful instrumental "All My Heart Can Take" was next, and Harper turned his chair around to play his Weissenborn facing the orchestra. It was completely silent in the Bowl, save for the chirp of crickets in the surrounding hillside. The music began slow and lilting until building to a crescendo that was again so sublime I felt the tears sting my eyes and my chest tighten. The entire audience was transfixed, and transported up into the stars, where we were more than happy to stay. I'd rewind this part of the night over and over if it was taped, and in my mind, it was. I'm back there
now, in fact ...
'K, I'm back. And so was the show, with "Roses From My Friends", and then one of my favorites, "When She Believes". The song has always made me feel like I'm at an outdoor café in Paris, but now with its added strings and harp and all the glorious rest, it was elevated into something from a real symphony. When Harper sang the line, "Now I have heard a hundred violins crying", he turned and gestured to the orchestra with a big smile that let us know he was as thrilled as we were. He looked so happy that it was impossible to not feel as happy for him. He shared at song's end that he had written that song in 1998 for his daughter Harris on the occasion of him feeling like she believed in him to take care of her. There was very little stage banter as there was a strict curfew to adhere to, so it was nice to hear that little back story.
"Goodbye To You" featured a gorgeous, lush arrangement (all written by David Campbell in collaboration with Harper) that just made you want the night to never end. That's when Harper told us about how he too goes to shows, and just saw Radiohead at Outsidelands, and wanted them to play the hits, so he understands. "Burn One Down, Kisses, I know, I know! See you tomorrow in Santa Barbara!" - meaning that wasn't happening on this night, in this setting, with this orchestra. Exactly no one was mad at that.
You'd think it couldn't get better, but then they threw down, "How Dark Is Gone" and it was SO. GOOD. This one has a kind of Spaghetti Western soundtrack feel to it, and as such, feels automatically epic. Percussionist Leon Mobley was going OFF, and Harper joined him by shaking maracas while singing, as the rest of the band/orchestra made the whole thing simply SOAR. Looking around, all you saw were joyous, rapturous faces enjoying themselves to the fullest. Hit with music, and feeling no pain. Perfect.
Conductor Wilkins came down off his platform and held hands aloft with Harper, as they thanked each other and the audience for what had just been pulled off. There was no time for the usual make-'em-wait-for-an-encore, so they lit right into Harper's anthemic, "Better Way" - a song full of truth and passion that is perfect for these crazy times we're living in - even though it was written ten years ago. It's one of my favorites, and Harper pours every ounce of himself into it, every time.
If you were at that show, you know that we can do more than BELIEVE in a better way, we can DO something about it. That might mean going to a show like this and getting inspired, because so many people feel the same way you do. That might mean having that song get stuck in your head as you hum it to yourself on your commute, remembering Friday's incredible show. And hopefully that might mean that you start thinking of ways you can help to make sure that a better way is being implemented in your life, because every individual effort at making things better affects the whole. So, LET yourself be hit with the music. It truly matters.
Thank you to Ben Harper, The Innocent Criminals, The L.A. Philharmonic, Thomas Wilkins, David Campbell, and the wonderful Hollywood Bowl for giving us this magical night of music that no one there will ever forget.
Posts
