Category: Music

REVIEW: Howie Day

Aria Gerson Leave a comment

Watching Howie Day perform was like a little kid watching a magic show.

During the climax of his opening number, “Sorry So Sorry,” he stopped playing his guitar altogether. But the music still resonated throughout the room, a full, sonorous sound that sounded like it could not possibly have come from one instrument. Was he using prerecorded music in his show? That seemed antithetical to not only what I had heard about Day’s live shows but to the venue itself, a place dedicated to stripped-down acoustic performances.

It took a few songs before I realized what he was doing. He would play a simple melody, sing a refrain, and tap out beats on the base of his guitar. He recorded it all, then layered the sounds together as he was performing to create a backing track of sorts. His flawless looping, the way he developed harmonies there on the spot using only his voice and his guitar, had to be seen to be believed.

Even after the show ended, “Sorry So Sorry” stuck with me. It was more than just the layering and looping. Day’s performance of the song was incredibly emotional and raw, something a lot of live performances lack. He took a page from the musical theatre playbook when he hit a high note with precision, then held it for several beats and let his vibrato take over. He then utilized the reverb pedal so that the sound echoed throughout the room, a move that was especially powerful in such a small venue.

Day also showcased his creativity and adaptability when unexpected trouble struck. In the middle of a performance of “Disco,” a string on his guitar broke. Because he didn’t have a backing band or a stage crew, he had to go backstage and fix it himself. When it became clear that he couldn’t finish the song, he tapped out a rhythm on his guitar and sang a small refrain from the song, then put it on repeat for the audience while he went tended to his instrument. He came back and finished the song to raucous applause.

Unlike many artists I’ve seen at The Ark, Day did very little talking in between numbers, opting to instead let the music speak for itself. He did, however, utilize musical interludes where he would layer sound upon sound, sometimes incorporating whistling or even his own whispers for a greater effect. Those interludes were as breathtaking as they were unexpected — most do not appear on his albums, and his appearance as “white man with acoustic guitar” doesn’t invoke images of innovative instrumentation.

The unexpectedness of Day’s set was part of what made it more magical. He combined the best parts of an arena concert — epic instrumentals and a sense of getting lost in the moment — with the intimacy and emotion of a small venue.

Day saved his biggest hit, “Collide,” for his final encore, opting for a more stripped-down arrangement of the song that made him famous. In holding off on “Collide,” Day was able to show the audience all he could do, then allow them to sit back and enjoy a song they already knew and loved, the cherry on top of a night I won’t be forgetting any time soon.

REVIEW: The Verve Pipe

Angela Lin 1 Comment

The sold-out show last night at The Ark was sold out for all the right reasons. The Verve Pipe’s performance was one of the best concerts I’ve seen, hands down.

In an age where much of the top hits are auto-tuned and live concerts expose artists for their true skills, it was definitely a heartwarming treat to hear The Verve Pipe sound exactly like they do on their records—if not better, as the power and passion radiated off the stage in a way no CD could ever justly capture.

Brian Vander Ark’s voice was tantalizing, and I’m sure it was just as beautiful and magical back in the 90s when the band first formed. He didn’t seem to have aged one bit, bringing a charisma and energy to every note he sang, whether he belted it out powerfully and held it for ages or whispered it with a rawness that touched the soul.

With Lou Musa on guitar, Brad Philips (who is a University of Michigan SMTD grad—Go Blue!) on violin, Channing Lee on tambourine and backup vocals, Joel Ferguson on bass, Randy Sly on keyboard and accordion, and Sam Briggs on drums, The Verve Pipe captivated the entire room with its spunk and rock. Musa and Philips had some unbelievable solos that just blew everyone away, and Lee’s soft yet powerhouse vocals beautifully complemented Vander Ark’s, with her occasional moments to show everyone what she’s got. Mark Byerly made several guest appearances on trumpet as well, which was just a cherry on top for a stage filled with incredibly talented musicians.

The band seemed to be having a wonderful time, smiling and laughing and rocking on stage, and the audience was absolutely loving it. This crowd of old-school fans definitely were past their youth, but the old hits brought out this energy in them that was just as youthful and lively. The ability for this 90s band to hold such a loyal and excited fan base is a true testament to the music they have created—music that continues to evoke emotions that never die with time, and the band’s continued presence by touring and creating new albums even today ensures their fan base is ever-expanding, which now includes yours truly.

I surprised myself by knowing almost all the words to 90% of the songs played, as I didn’t realize just how much I’ve listened to The Verve Pipe since I first stumbled upon them back in September. With the top 13 requested songs in the first half, pieces from their newer albums in the second, and encores that only left everyone screaming for more, the entire night was filled with enjoyable, quality music that is rare to find today.

One of my favorite moments was during their hit song, The Freshmen. They performed the original version as Vander Ark and Musa took the stage with this raw classic. Everyone was singing along from the beginning, and there was a moment when the chorus came around where Vander Ark stopped singing and let the crowd carry the song. It was so pure and powerful and beautiful, and Vander Ark was clearly touched by it. I’d be lying if I said tears didn’t come to my eyes during that moment.

The Verve Pipe was everything I imagined them to be live, and more. In an unforgettable night, I suffered a pop smear so great, I would be more than happy to “suffer” again and again with this group of humble, talented, just absolutely amazing people.

Now, if you’ll excuse me, I’m going to go listen to The Verve Pipe some more as I’m sure I’m going to be doing for the rest of my life.

PREVIEW: Howie Day

Aria Gerson Leave a comment

I listen to so much music that playlist attrition is a natural consequence. I get tired of songs eventually and clear them out to make room for other, newer, more exciting ones.

But there are a few songs that are exceptions, that are timeless enough to me that they stick on my playlists for years. Howie Day’s Collide is one of those songs. Five years after it originally landed on my iPod, back when I was 13 and my favorite genre of music was whatever was on the radio, the lyrics still speak to me.

“Even the best fall down sometimes, even the stars refuse to shine, out of the doubt that fills my mind, I somehow find you and I collide.”

Through middle school and high school and now college, those words have been with me. So when I saw Howie Day was coming to The Ark, I knew I had to go.

Day hasn’t released an album since 2015 because he spends so much time touring. I haven’t seen him in concert before, but he’s known for his innovative live arrangements and instrumentation, something that should play well at an intimate venue like The Ark.

Day isn’t the traditional folk artist usually associated with The Ark. Instead, his music is emotional acoustic guitar-based pop rock, similar to that of bands like The Fray. If folk isn’t really your thing but you want a fairly inexpensive local concert at a great venue, he’s worth checking out.

Howie Day comes to The Ark with opening act Shane Piasecki, another acoustic pop singer-songwriter, this Sunday, December 3, at 7:30 PM. Tickets are $20 at The Ark, at the Michigan Union Ticket Office, or online at theark.org.

PREVIEW: The Verve Pipe

Angela Lin 1 Comment

Twenty-five years. Three million albums sold worldwide. A Michigan-native rock and roll band formed in the 1990s, The Verve Pipe’s music explores heartbreak, family, love, and loss that is as real now as it was back then. Filled with soul-searching lyrics and layered instrumentals, their work tackles problems and evokes emotions that is rare to find in contemporary alternative music today.

Still touring and still going strong, the band is bringing back all their hits from their first two albums and fan favorites from their entire discography with an exclusive, personal show at The Ark that will surely live up to its reputation of dazzling live shows.

I’ve become a huge fan of their music and I’m really excited to see them perform in such an intimate venue. Join me as The Verve Pipe performs their show “I’ve Suffered A Pop Smear” at The Ark on December 2 at 8:00pm. Tickets are $25 and can be purchased at the Michigan Union Ticket Office or online at www.thevervepipe.com.

REVIEW: New York Philharmonic – Young People’s Concert

Sophia McPherson Leave a comment

Word was out: The New York Philharmonic was set to make its debut to the University for their second major residency in honor of Leonard Bernstein. Upon their arrival, the NY Philharmonic had more than twenty various educational and community engagement activities planned for both students on campus and those of the larger community as well. Before attending the Young People’s Concert, I had the opportunity of attending the lecture held by the University Musical Society’s current president, Matthew VanBesien and Deborah Borda, President and CEO of NY Philharmonic. This discussion was driven by the topic of Leadership, Innovation, and the Business of Running an Orchestra. It was a packed room full of faculty, students, and UMS affiliates. With the energy and excitement elicited from those in the room, I could not wait to finally attend one of their mainstage performances!

Come the big day (Saturday), the weather was dreary and raining vigorously…not an ideal day for attending a world-renowned concert, as one may imagine. Though, my enthusiasm was not shot down a single bit! Upon arriving, I was thoroughly pleased with the sight of so many young faces and people of color. This was something that I could truly appreciate, as it is of mutual understanding (and a prominent goal mentioned by Ms. Borda) to shift the majority orchestra concert goers from older individuals to a more diverse audience.

Moving along, the concert’s primary purpose was to celebrate Leonard Bernstein. In a roundabout way, the show itself was a rendition of episodes performed by Bernstein himself. It was set up like an interactive lesson, rather, somewhat like a game show with a host and commentary/history of selected pieces in between each performance. We were even presented with a special guest: one of Leonard Bernstein’s daughters! In conjunction with testaments to her own stories of childhood, there were also members of the orchestra that accounted for early memories of Leonard Bernstein’s Young People’s Concerts.

We are told that Bernstein was a man of many roles: a father, conductor, composer, and so forth. The program was composed of excerpts from Bernstein’s Candide, Three Dance Episodes from On the Town, “The Age of Anxiety,” Symphony No. 2, “Jeremiah,” Symphony No. 1, and West Side Story. The most audience participation came from the very last piece, Mambo. Throughout the performances, the host and conductor, Leonard Slatkin, took various efforts to involve the audience. During Mambo, we were given the exclusive role of synchronously shouting “Mambo!” when given our cue.

I found the excerpts from West Side Story to be a special treat. In addition to hearing more upbeat tunes and jazzy compositions, we were given pieces from the Broadway musical! With two special guests, U-M alumni were welcomed to the stage to aide in performing “Maria,” “I Feel Pretty,” and the “Balcony Scene.” Surprisingly enough, it felt as though I was watching the musical itself while simultaneously viewing what would be the orchestra pit during the show. All in all, the New York Philharmonic’s residency this year was an unforgettable experience, with much recognition given to the University Musical Society for hosting them.

REVIEW: Intergalactic Pops

Angela Lin Leave a comment

This concert was not your typical concert. With hilariously-poorly-designed videos, a planet diss showdown, a lightsaber fight, and a game show, Michigan Pops definitely brought the pops to Michigan.

Before the main event, the early-arriving audience was entertained by Dicks and Janes, an a cappella group on campus.

 

Their singing was lovely, and I enjoyed listening to them as I relaxed and took in the beautiful venue, waiting for the Michigan Pops Orchestra to take the stage. I will definitely be on the lookout for acapella concerts after this!

After over 100 students and Music Director Rotem Weinberg filled the stage, there was lift off.

Opening with Also Sprach Zarathustra: Sonnenaufgang (which you may not recognize the name of, but you will definitely recognize the tune when you hear it) was iconic and set the stage perfectly for the rest of the concert. Some songs were very familiar, while some I never heard before. The program consisted of classical music, movie soundtracks, and video game theme songs, all centered around the theme of “space”. It featured soloists Benjamin Walker and Megumi Nakamura from SMTD, and their voices complemented the orchestra perfectly. “Sun and Moon” was captivating, and the bit from Pinocchio was such a childhood throwback — I wasn’t prepared for all the feels that night. But, the orchestra and voices were so powerful and beautiful that all I felt was the feels throughout the entire evening.

Music was not all there was in store, however. Before Jupiter, there was a battle for the title of best planet, ending with Assistant Music Director Tal Benatar claiming that “every planet is special in their own way.” Awwww.

Videos for Star Wars, E.T., and Mario were created and played.

Sometimes, I felt the videos were too entertaining that it was a bit too distracting from the music. I was too busy laughing at the pasted E.T. face that I forgot the orchestra was playing. However, during the Super Mario Galaxy 2 song, the music brought the video to life. So, I think the presence of the videos depended on the listener and whether that took away from the orchestra or added to it. It was enjoyable nonetheless. Additionally, there was a lightsaber duel that took place between two Pops alumni in a video that found its way into a live-action finale.

In the second half, there was a game show with audience participation called Planet or No Planet.

It was so ridiculous, it was amazing.

Ending with Reflections of Earth, which is from the IllumiNations show at Epcot, the night’s music really caused me to reflect on everything, known and unknown. At certain times, the orchestra was so intense and grand that I couldn’t handle it, and it caused me to realize once again how small and finite we are in the end. The power of their music was literally transcendent.

Finally, Michigan Pops brought it back home with a rendition of Hail to the Victors as an encore, ending with the Michigan pride that makes the stars shine maize and blue.

The time and energy the Pops orchestra put into preparing for this concert, in terms of music and all the entertainment, was as clear as the moon, and it paid off for an amusing night filled with laughter and emotions. As we journeyed through space on this night of wonder, I realized I’m really happy to live on this earth where I had the opportunity to experience all the talent produced by the lovely humans that graced the stage of the Michigan Theater that night. With their music, they filled our minds with universes beyond life. What I listened to was more transformative than a solar eclipse, more brilliant than a shooting star, more powerful than a black hole, more grounding than gravity; I listened to the Michigan Pops Orchestra. And it was certainly out of this world.