The bar band featured at the Uptown Theater on Sunday had an amazing guitarist. Ordinary bar bands, of course, don't draw 1,200 fans, like this one did. Then again, Trey Anastasio is no ordinary guitarist.
Anastasio is the most
prominent member of the wildly successful Grateful Dead-inspired jam band
Phish. He often hits the road with his Classic Tab collective when Phish is on hiatus.
The band's current configuration exemplifies many of the most commendable attributes of a great bar band. Refreshingly unpretentious, Classic Tab displays a commendable work ethic, possesses a clutch of killer cover songs and insists that their audience never stops dancing.
Those elements combined Sunday for an exuberant marathon performance. For the three hours and twenty minutes Anastasio was on stage, he looked like the happiest man in the world. The audience rewarded his effort with fervent dancing and constant whoops of appreciation.
It's appropriate that the concert began with a vibrant blast by Classic Tab's three-person horn section. Their powerful punch and earthy vitality regularly threatened to outshine Anastasio. He didn't seem to mind one bit. He grinned maniacally at the horns' invaluable contributions and even allowed them to translate the climax of Mark Knopfler's familiar guitar solo on a transcendent cover of Dire Straits' "Sultans of Swing." "Goodbye Head" featured an ambitious arrangement comparable to the work of jazz composer Gil Evans.
The magnificence of these moments was magnified by a crisp sound field that captured the music's intricacies. Concerts at the Uptown Theater have rarely sounded better.
The wallop of the horn section was just one of several of the night's savory ingredients. Anastasio flashed pop smarts on "Shine" and "Push On 'Til the Day." "Alive Again" was the first of several songs with Latin rock components reminiscent of Malo, Santana and War. Elsewhere, the jazz-rock of Blood, Sweat & Tears and early Chicago would be evoked. A goofy lark, "The Birdwatcher" was a classic jump blues straight out of Kansas City's jazz heyday.
Only a three-song segment during the first set seemed slightly stale. The odd "Let Me Lie" temporarily quelled the evening's momentum. The next two songs, "Sweet Dreams Melinda" and "Money, Love and Change" also contained meandering segments with no discernible destination. Tellingly, the latter two selections included somewhat indulgent Anastasio solos. For most of the evening, however, the guitarist played precisely what was demanded of the music. His long solo on "Gotta Jiboo," for instance, was justified. The band was locked into such a deep groove that the extension of the song was welcome.
Phish's faithful weren't forgotten. The night's most nostalgic moment came when "Wilson" was greeted like an old friend during the solo acoustic segment that concluded the first set. And it was midnight when Anastasio finished cajoling feedback from Phish's "First Tube."
Even though hula hoops were twirled and clouds of aromatic smoke filled the room, Classic Tab rarely offered typical jam-band fare. The Grateful Dead were sometimes accused of dabbling in many genres but never excelling at any of them. The same criticism can't be leveled at Classic Tab. Their stabs at jazz, blues, funk, soul and pop hit their marks.
Classic Tab may have the spirit and attitude of a bar band, but their talent and imagination transcend all labels.
Set list courtesy of COVENTRY PHISH BLOG
The band's current configuration exemplifies many of the most commendable attributes of a great bar band. Refreshingly unpretentious, Classic Tab displays a commendable work ethic, possesses a clutch of killer cover songs and insists that their audience never stops dancing.
Those elements combined Sunday for an exuberant marathon performance. For the three hours and twenty minutes Anastasio was on stage, he looked like the happiest man in the world. The audience rewarded his effort with fervent dancing and constant whoops of appreciation.
It's appropriate that the concert began with a vibrant blast by Classic Tab's three-person horn section. Their powerful punch and earthy vitality regularly threatened to outshine Anastasio. He didn't seem to mind one bit. He grinned maniacally at the horns' invaluable contributions and even allowed them to translate the climax of Mark Knopfler's familiar guitar solo on a transcendent cover of Dire Straits' "Sultans of Swing." "Goodbye Head" featured an ambitious arrangement comparable to the work of jazz composer Gil Evans.
The magnificence of these moments was magnified by a crisp sound field that captured the music's intricacies. Concerts at the Uptown Theater have rarely sounded better.
The wallop of the horn section was just one of several of the night's savory ingredients. Anastasio flashed pop smarts on "Shine" and "Push On 'Til the Day." "Alive Again" was the first of several songs with Latin rock components reminiscent of Malo, Santana and War. Elsewhere, the jazz-rock of Blood, Sweat & Tears and early Chicago would be evoked. A goofy lark, "The Birdwatcher" was a classic jump blues straight out of Kansas City's jazz heyday.
Only a three-song segment during the first set seemed slightly stale. The odd "Let Me Lie" temporarily quelled the evening's momentum. The next two songs, "Sweet Dreams Melinda" and "Money, Love and Change" also contained meandering segments with no discernible destination. Tellingly, the latter two selections included somewhat indulgent Anastasio solos. For most of the evening, however, the guitarist played precisely what was demanded of the music. His long solo on "Gotta Jiboo," for instance, was justified. The band was locked into such a deep groove that the extension of the song was welcome.
Phish's faithful weren't forgotten. The night's most nostalgic moment came when "Wilson" was greeted like an old friend during the solo acoustic segment that concluded the first set. And it was midnight when Anastasio finished cajoling feedback from Phish's "First Tube."
Even though hula hoops were twirled and clouds of aromatic smoke filled the room, Classic Tab rarely offered typical jam-band fare. The Grateful Dead were sometimes accused of dabbling in many genres but never excelling at any of them. The same criticism can't be leveled at Classic Tab. Their stabs at jazz, blues, funk, soul and pop hit their marks.
Classic Tab may have the spirit and attitude of a bar band, but their talent and imagination transcend all labels.
Set list courtesy of COVENTRY PHISH BLOG
Set 1: Shine, Push On, Alive Again, Birdwatcher, Mozambique, Cayman Review, Dragonfly, Night Speaks to a Woman, Valentine, Let Me Lie, Sweet Dreams Melinda, Money Love & Change, Tuesday, Backwards Down the Line**, Brian & Robert**, Back on the Train**, Sample in a Jar**, Wilson** Set 2: Gotta Jiboo, Liquid Time, Sand, Goodbye Head > Mr. Completely, Alaska, Sultans of Swing. Encore: Show of Life, First Tube. (** acoustic)
Bill Brownlee, Special to The Star
I can't believe there were only 1200 fans there.
Posted by: bob | February 22, 2010 at 12:32 PM
Don't know too much about Phish or Classic TAB but the mere fact that Malo (Suavacito, mi Linda!)was referenced makes me smile. Kudos, Mr.Brownlee.
Posted by: pellboy | February 22, 2010 at 12:48 PM
No matter how one may feel about jam bands, the Greatful dead or Classic Coke errr.. Claasic Tab ...... No can accuse Mr. Anastasio of not doing his part to raise the average set list times for this weekend in cold Kansas City ; )
BBRRRRrrrrrrrberryberryCOLD!!
Posted by: Get it UP | February 22, 2010 at 01:21 PM
It was a great show. I like this better than Phish. I got there early for GA front row and soaked in everything.
I was wondering how the sound was in the house because for me it was great. The put a small monitor right in front of us and the mono mix was perfect. You could hear each instrument clear. When the horns blew I think my hair flew back.
Posted by: wadkc | February 24, 2010 at 10:03 AM