Top Ten Moments of UM’s 2010 NYE Show at the Riviera
Top Ten Moments of UM’s 2010 NYE Show at the Riviera
Filed in ARTISTS, Umphrey’s McGee on February 1, 2011 with View Comments
1. Covering Radiohead’s National Fucking Anthem
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A song like this was made for this band, and not only did they sell it, they owned it. A disturbed haze of dark reds and blues took over the lighting spaceship. The transformation from Booth Love was a simple one, with Joel starting it off on keys. Radiohead might be a close tie for the love felt for Umphrey’s – but UM doing Radiohead was more than most of the audience could handle. MSNBC and Discovery just announced that music provides the same endorphins as sex: the audience was resplendent in an orgy of eargasms.
The haphazard brass tones, the trumpet and trombone bringing each dingy overture into existence while the sax wails, the guitars build, the piano line builds. Constructed and reconstructed, one of the most anthemic Umphrey’s covers witnessed with a full onslaught of Waful’s creative capabilities.
2. Kris Myers is a Sex Machine
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Keep a guy behind a monstrous riser of beat-making equipment and he’s bound to need let out once in a while. After two nights of hammering his set like he was born to do it, Myers stepped out on stage in his jedi all-blacks and made a statement: This dude can dance. And sing. When Kris stepped out in a black suit, hat and sunglasses and began a rendition of James Brown’s classic 1973 hit “The Payback” we were in for a treat.
Strong vocals and a stage energy of a funkified Myers was enough to bring the energy in the venue to orbital levels. Consider this Myers’ payback for sitting in the back while the stringhandlers get all the fun. When Kris comes back and counts it off for Sex Machine with backing vocals by the incredible hotties it’s time to forget your troubles as we’re not far from midnight.
3. N2F (Nothing Too Fancy) Sandwich
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Iconic to the point that UM’s handing out “N2F” stickers modeled after the European country emblems, it’s apparent that this song is rather thematic for the group.
4. Jeff Coffin on Saxaphone for “Bright Lights”
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Jeff’s Sax playing has been a UM tradition for some time, and his sitting in for Bright Lights took it to another level. Yes, it was expected that horns would be an integral part of 12.31 but the nuance and skill with which he melded into BL was insanity squared.
The only comment heard repeatedly was that someone took an extra “delay” pill and the reverb was a bit much for some of the “echoing” vocals, but other than that an excellent rendition.
5. Wellwishers with Horns
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If this song is going to mainstream, which seems part of the plan as the first “EP release of 2010, a version like this is going to make it work. While solid on its own, the full sound created by four backing horns makes it work a bit harder. Could have used a bit more vocals in the mix, but that’s a subjective taste and not a negative mark.
Any rock song featuring a trombone solo is worth a listen, and the freeform jazz influence to a fairly straightforward progression of a song is a noted bonus. Most likely the next Wellwishers heard from UM won’t hold a candle to this. If you’re a WW fan, add this one to your playlist.
6. Demolition Man
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New material debuting on NYE? Check. But seriously, a harmony check is order here to be harmonious. Otherwise, it sounds like three people singing. “Don’t mess around with the Demolition Man / I’m a walking nightmare / that’s what I’m gonna do / I can kill a conversation as I walk into a room…” All we can ask is who is this man?
It’s a half-reggae, half-swing beat coupled with a repetitive chorus, a bit of introspective jamminess between stanzas and we’re done. Added here for relevance and for first time played.
The horns were a nice mix on this track, and the muted brass rocked and I’d worry about a non-horn rendition of this song. We’ll have to watch as this one develops as it shows great potential.
7. Hajimemashite
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Translations are only half the story here, and while roughly translated the meaning is “Nice to meet you”. In Japanese culture, the more direct and literal translation is a more special, nuanced meaning. Usually this is said only in the beginning of a relationship, and means “We start our relationship”.
Why is it that UM has to have songs with such ridiculously amazing meanings? Accompanied by some of the best piano work of the run, and subtle, nuanced vocals by a sleeveless Bayliss, all we can say back to Umphrey’s is “Dozo Yuroshiku” – keep us in your favor. So it’s interesting at an even more basic level – why is this song about saying goodbye? More of an open ended question, but included for relevance and deeper understanding.
8. Booth Love w/ muted Soprano Sax Intro
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To go from full rage to beautiful inside of a song is a trademark of a band who’s done their homework. The Coffin solo intro to this late-night Booth Love was spectacular and led into some strong rhythm guitar and made this stand out as a special moment.
The second movement of this piece could only be described as introspective, as the horns took second to some gorgeous stringwork, amazing percussion/bells, then more horns. Once the vocals start, this song is sex on a stick, and the first time we get some real harmony in the vocal range. Re-listening to this, it’s amazing that the tease for National Anthem happens a full two minutes before the end, with chords being banged out in an organ style by Joel. Coffin chimes back in on the sax, and we’re treated to an extended solo/outro with subtle undertones of Radiohead.
Go out on a limb here and say that at this point in the evening, this nuance was probably not caught by 90% of the crowd. Ten seconds from the end we hear the guitars come in, and then it’s on.
9. Slacker
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We always try to do the right thing, right? Who that listens to this band hasn’t had a self-identifying moment while listening and realized that it was all to true? Always performed with somewhat different lyrics depending on the mood, this night the treat was, “We have yet to ever GIVE you our best yet.” After nearly twelve hours of UM over three nights, imagination is the only thing that could create the canvas for what would be better than this run. And then Cody Dickinson comes out, sleeveless like Bayliss, and starts playing a washboard like it’s his bitch.
10. You.
Yes, literally all of you who came out, especially those who raged the front rail, dressed in costumes, brought stickers to share, watched each other’s backs and made this three-night run something memorable. “Remember when UM used to play NYE at dingy theaters in North Chicago” will be met with the glow that only time can enhance. Thank you, glow stick throwers for not nailing me in the head.
Thank you, mister security guy who let me into the pit at the balloon drop. Thank you, mister shut the exhaust door on the upper level and yelling at me that you had personally solved the riddle of why it was hot in the venue. Thank you, mister “$3 to smoke a cigarette in the bathroom” for your entrepreneurial spirit. Thank you, mister Molly dealer in the bathroom for taking that kid’s wallet, opening it, seeing crumbled up bills and telling him to save it and take a cab home. Thank you, Jake for the high-five at the after-show. Thank you, Ryan Stasik, for making my ultra-yellow shot of you your profile photo on facebook. Thank you, Abby from GR for finding an inflatable rhino and deciding that for the third night, he needed a t-shirt. Thank you to all of the Michigan crew for coming out to show support in Chicago. Thank you, young children having the time of your lives at the all ages show, and thank you, Chicago for hosting ten years of amazing music for new year’s eve.
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About the Author
Benjamin Slayter is a Michigan-based photographer. You can read more about his journey his blog, “The Stories Behind the Pictures” at http://www.slaytercreative.com/blog