J. Tillman took the stage at the Middle East Upstairs for a late show on Sunday night. But then again, it was only 8pm in Seattle, the west-coast town that this drummer from Fleet Foxes calls home.
The performance was a family affair, with J. Tillman’s brother Zach opening as a solo act called Pearly Gates Music. Zach Tillman offered us a stripped-down version of his already sparse style: leaving behind all unnecessary instruments, he came to us as one man and a guitar crooning blues and covering Pavement’s “Shoot the Singer.”
The Middle East Upstairs is an intimate venue, allowing audiences to rub noses with the performers. Zach Tillman self-deprecatingly commented on this lack of personal space: “Whoa, dude. You guys are close. Last show, there was like a 15-foot perimeter. And not because there was security or anything. People just chose to be that far away.”
After Pearly Gates, the flannel-clad, full-bearded band backing J. Tillman took the stage to a surprisingly chill audience. The place was packed, but these hipsters were polite, exerting themselves only just enough to pass as decent human beings. Was it Sunday night after a long weekend of parties?
Or maybe it was simply that the performance took a few unexpected twists. If I could have listened to J. Tillman’s soothing croon all night, I couldn’t have asked for more. It’s what I was expecting from a Fleet Fox.
Instead, J. Tillman vacillated between a straight-up folk artist sound à la Sam Beam and smash-and-shred noise-fests à la Sonic Youth. It made for variety, but not in the peanut-butter-and-chocolate vein of brilliance. More like peanut-butter-and-salsa. And it made me queasy.
There were moments (of pure peanut-butter smoothness) where the steel and acoustic guitars and J. Tillman’s voice transported me to heights of pure nostalgia, a place where things couldn’t have been more right with the world.
And the encore brought the lullaby tunes I had been craving all night: J. Tillman and his acoustic guitar serenading an audience with “James Blues” before we stumbled home to bed. This, folks, was all I really wanted.
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haha is that a compliment?
by colin on Sat Mar 13, 2010 at 06.49 pm from the entry: Interview - Kelli Schaefer (Portland, OR; Winter, 2010)
love that melophobe has more “couples” reviewers, and more “Ian/Ion/Ian/Iain” than the average site…
by Ian on Sat Mar 13, 2010 at 06.48 pm from the entry: sevendust + drowning pool + digital summer + the flood - showbox market (seattle, WA; Mar 07, 2010
you’re positively glowing in this interview, Colin
by Ian on Sat Mar 13, 2010 at 06.46 pm from the entry: Interview - Kelli Schaefer (Portland, OR; Winter, 2010)
Hey Merseilles did a live web show at sonicbirds office gig on Friday that was pretty spectacular. Can anyone find a copy of that?
by Smallweed on Sat Mar 13, 2010 at 11.40 am from the entry: SXSW Send Off Show - Visqueen + Hey Marseilles - Neumos (Seattle, WA; Mar. 5, 2010)
I was thinking of looking up some of them newspaper websites, but am glad I came here instead. Although glad is not quite the right word…
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by Abbott on Sat Mar 13, 2010 at 06.00 am from the entry: Social Distortion - Showbox Sodo (Seattle, WA; July 17, 2009)
16 is great! jealous there was a fence at the market....
by nicole on Fri Mar 12, 2010 at 06.53 pm from the entry: sevendust + drowning pool + digital summer + the flood - showbox market (seattle, WA; Mar 07, 2010
Kelli Shaefer’s songs get stuck in my head non-stop. Every other day I find myself waking up with one in there. And that’s a good thing, she’s a talent!
by Siri on Thu Mar 11, 2010 at 04.37 pm from the entry: Artist Profile - Kelli Schaefer (Portland, OR; Winter, 2010)
