Another night with Ben Folds, who is capable of anything

So I had tickets to a Ben Folds show last night. My 12th in the 19 years I have been a fan.

As I rolled through my work day yesterday, still tired and a little overwhelmed by the recent weeks’ events, I had thoughts of whether I might finally be getting too old for this concert stuff.

By the end of the night. … Nah.

Ben Folds. That guy does not disappoint. As I headed toward Kansas City last night I couldn’t help but reflect on the previous 11 occasions I've seen him perform and marvel that no Ben Folds show – or Ben Folds Five show – I’ve attended has resembled the same feel or presentation as another. In fact, I’ve seen him play nine different venues in six cities. And even then, an argument could be made that I’ve seen him play 11 different venues – because I’ve seen him play three different stages in four trips to Summerfest.

From feeling the balcony tremble during a euphoric “Battle of Who Care Less” in Omaha’s Sokol Auditorium, to singing “There's Always Someone Cooler Than You” with an amazingly energetic Summerfest crowd, to the jaw-dropping night with the Kansas City Symphony, I have very distinct memories of each show.

Last night, I saw Ben play at Kansas City’s Uptown Theater. It was my second trip to that venue, having seeing the amazing Nickel Creek there last year.

My marveling transitioned from Ben Folds memories to the memories of just a couple weeks ago as I rolled into downtown Kansas City and drove past Union Station and the Liberty Memorial. I thought about all the people crammed on the lawn for the Royals World Championship celebration and got a kick as I drove down Broadway toward the theater and thought about the hundreds of thousands of people lining the street for the parade.

I pulled into the McDonald’s down the street from the theater to grab a bite to eat and take advantage of the wi-fi to do some work. ‘80s pop music blasted on the restaurant speakers, but I found some rare clarity and I was productive.

I headed to the theater around 6:45 p.m. and waited in line only a few minutes for the doors to open.

Quickly, I headed into auditorium to find my seat and then had some disappointment when I realized it was near the back, a few rows behind the sound booth. Unlike the general admission and open standing-room concept for Nickel Creek’s show, last night’s Ben Folds show was strictly a reserved seating affair. My ticket landed me in the permanent flip-down theater seats, and rows of folding chairs covered the floor on the orchestra level. I accepted it, taking solace in the array of environments I’ve seen Ben and feeling lucky just to be there. … The young couple who sat down behind me moments later didn’t share the sentiment. They proceeded to curse up a storm, and I gathered through their conversation that this was their second Ben Folds show, they thought they had second row seats on the floor until an usher moved them and the guy's mom bought the tickets for them. They even went so far as to contemplate whether they should ask for a refund. Youths.

This was my vantage point ...

The opening act was interesting. It was the Dutch singer/songwriter Dotan. He and his accomplice sat together at center stage, performed a handful of tunes and showed off some fine guitar strumming. The tenor of Dotan’s vocals reminded me a bit of The Shins, but more worldly -- and his stage presence reminded me of Yanni. On a couple songs he put down his guitar to beat a bass drum. … By the end of their set, all of it was sounding the same to me.

Ben Folds took the stage at 9, and I wasn’t sure what to expect. His new album is more adult contemporary than anything he’s done and a far cry from the power pop of his earlier days. I mean the guy broke on to the radio some 20 years ago with Ben Folds Five, playing so-called “punk rock for sissies.” And now he’s composing sweeping piano concertos and rebooting his hits with orchestra arrangements and fresh instrumental flourishes. He's a kind of Brian Wilson for my generation.

I downloaded his new album, “So There,” from iTunes the week it was released in September, but only had logged a few listens prior to last night. Let’s just say I’m far more appreciative of it now.

Ben collaborated and recorded the album with a six-person orchestra called yMusic. They were all there on stage with Ben last night. He played on an upright piano with the orchestra flanking him in a semicircle. A viola, violin and a cello to his right. Bass clarinet, flute/piccolo and trumpet/French horn to his left. A drummer took care of the percussion duties, sitting behind the trio on the left side. Together, they were eight enormously talented musicians doing their thing as if they were just practicing and experimenting in a studio – but with a few hundred people watching.

The six instrumentalists who form yMusic came out first and launched into a frenzied orchestra piece that immediately had me sitting on the edge of my seat. I kept waiting for it to turn into an exciting intro to a Ben Folds song, but that didn’t happen. For the time being, it was yMusic’s turn to shine and own the stage. The song was “Beautiful Mechanical.”

Ben appeared as the applause from the prelude died down and they started with “So There,” the title track from Ben’s new album. Next, during “Long Way To Go,” they performed a wave – the kind you see fans do at stadiums during baseball games. 

As usual, Ben was snarky, profane and dropped bits of humor throughout the night. Before “I’m Not the Man,” he deadpanned in a single breath: “This song I wrote for a movie. It was rejected.”

And, as is the custom at his shows, he indulged the crowd with an improvised, on-the-spot rendition of what’s become known as “Rock This Bitch,” and he carried the symphony with him – just like he did that night at the Kauffman Center (Watch this to hear Ben tell the history of the song, and see his genius do its thing with yet another orchestra).




As if the crowd wasn’t satisfied with the first take, Ben took another stab, calling for “Rock This Bitch, Part 2,” a country blues ode to Kansas City.




For the most part, the first half of Ben’s set was a mild affair – for a Ben Folds concert at least – and largely met the mood I anticipated, given the vibe of the “So There” album. There was a flash of excitement when they broke out “Effington,” but pulled back again with “I’m Not the Man.”

We got a couple Ben Folds Five classics with “Mess” and “Evaporated,” which enveloped another yMusic showcase on “Music in Circles.”

The excitement shot up, though, when the musicians dove into “Song for the Dumped,” and the vibe of the show only surged from there. A seven-minute “Steven’s Last Night in Town” featured outstanding drum and bass clarinet solos. Turns out there's a studio recording of the version on YouTube. Watch ...




Here’s excerpts from a review in The Kansas City Star to say what I haven’t already …

Ben Folds has a fetish for orchestrating and conducting, and it was on full display Wednesday before a sold-out crowd at the Uptown Theater.

For nearly two hours, Folds led a dynamic six-piece chamber orchestra from New York called yMusic through his deep catalog and various rearrangements of some of his most beloved songs.

As with his most-recent performance in Kansas City at the Kauffman Center for the Performing Arts, where the Kansas City Symphony supported him, Wednesday’s show revealed the dexterity, diversity and adaptability of Folds’ songwriting. But above and beyond all, the show introduced to Kansas City the high-octane precision and power of yMusic. …

(H)e began introducing his band members. The first of them was violinist Rob Moose, whose introduction instantly turned the Uptown into Kauffman Stadium, as if third baseman Mike Moustakas had just stepped up to the plate. Folds went with the display of affection, and for the rest of his introductions, he gave each band member a nickname and had the crowd cheer it back in unison.

Before “Phone in a Pool,” Folds told the story behind it: In New Orleans, in a fit of frustration, he tossed his BlackBerry into the deep end of a hotel pool. It was immediately retrieved by another of the hotel’s guests, the fully clothed pop singer Ke$ha,who advised him to pack it in rice. At the end of the song, he halted the orchestra not with a wave of his arm but by bellowing “Shut the (bleep) up!”

Throughout the show, yMusic was demonstrative and dynamic, sometimes too much so. During several songs, Folds’ voice ended up immersed in the tide of music swirling around him. He got some spot-on harmonies from Moose and Smith but most noticeably from Alex Sopp, who excelled on the flute and piccolo. 

Which brings me to, for me, the highlight of the night. Almost from the beginning of the show, I found myself enthralled with the backing vocals provided by the yMusic members – especially Sopp, whose harmonies blended oh-so-beautifully with Ben on a majority of the songs. And all the while I kept thinking, They have GOT to do “You Don’t Know Me.”

Just when I had started to doubt whether it would happen, they performed it, with Ben and Alex doing the back-and-forth of an arguing couple – and the crowd shouting “Say it!” It was glorious.

The encore ensued, and I had become so swallowed in the show that it never occurred to me the group would play the crowd participation standards “Army” and “The Ascent of Stan.” They did, and those were glorious, too. The crowd, which never stood during the first set, was on its feet throughout the encore.

Here's “Army”...




I found it somewhat fitting that “Pomp and Circumstance” played on the auditorium speakers as the crowd exited.

As I drove through downtown and onto the highway, I found myself marveling again – this time at the skyline that had been illuminated with Royals blue and gold a few weeks ago and was now showing in red, white and blue in acknowledgement of the attacks in Paris.

I listened to the “So There” album on repeat all the way home.

Here’s the setlist …

1. Beautiful Mechanical
2. So There
3. Long Way To Go
4. Not a Fan
5. Effington
6. I'm Not the Man
7. Phone in a Pool
8. Rock This Bitch
9. Rock This Bitch, Part 2
10. Mess
11. Music in Circles
12. Evaporated
13. Yes Man
14. Erase Me
15. Song for the Dumped
16. Capable of Anything
17. Steven's Last Night In Town
18. You Don't Know Me

Encore
19. Army
20. The Ascent of Stan

A night at the symphony with Ben Folds

So this happened tonight.

... It was concert No. 11 for me with Ben. I've seen him in varied arrangements over the years. But this was one-of-a-kind. In an atmosphere all its own.

First of all, it hasn’t been the greatest week. I’m miserable with a summer cold that has me feeling like my head could pop like a pimple at any moment. It’s been a lonely, trying week, dealing with a range of issues, including a power outage on the campus. … I received the all-clear call regarding the power outage while I was driving to Kansas City this evening and proceeded to pull off at a McDonald’s where I logged on to a university account with the restaurant’s free wi-fi and sent an email to all of our employees from my laptop in my car.

No. 1, technology is great. No. 2, God bless McDonald’s.

On with the show …

As he’s done on so many nights, Ben Folds erased all my cares for about two and half hours. But tonight, more than ever, I wish I could pack this feeling and the music into a treasure chest to store and relive. … He’s done the studio albums, the live recordings and even the a capella album. So now I’m hoping he produces an album of his symphony songs -- soon .

Ben was in town this week for a two-night stay with the Kansas City Symphony, and I bought my ticket for tonight's show, the second of the two. This night never would have been possible if not for Kates who tipped me off about the concert in February after she saw a post about it on Facebook. We discussed going together, but she opted not to go after weighing all the factors of cost, finding a baby-sitter and her early mornings teaching summer school. … Now I’m really wishing she could have accompanied me. Not only would she have thoroughly enjoyed it, it sucked being there by myself and being surrounded by so many couples enjoying each other’s company.

The Kauffman Center for the Performing Arts is a gorgeous concert venue. Period. … In this Flickr album are some photos I captured when I visited the building a couple summers ago, though not for a concert. And here's an excellent video tour.

Shortly after arriving inside the atrium, I found an usher to point me in the direction of my seat. The nice elderly woman told me I was close and directed me down a hall “to the first door on the right.” ... So I proceeded into the hallway and turned into the first door on my right. The door led me into a second tier of seating, which provided an ideal view of the stage, and I would have been perfectly happy there. But I couldn’t find a seat number that matched the one on my ticket.

So I went back into the hallway and found another usher – who directed me to the first door on the right, at the end of the hallway. The door … closest to the stage. I was in row H. Yes, eight rows from the stage. Ben’s Steinway piano stood about 15-20 feet directly in front of me. I felt like I had won the lottery.

As the symphony hall began to fill, it was quickly apparent that tonight’s environment was not that of your typical Ben Folds concert. The girls came in summer dresses fit for church, and the guys dressed in button-down shirts and slacks. Some came in ties and even full suits. This was higher class and more sophisticated than the festivals and smoky halls where I’m accustomed to seeing him perform.

To begin the show the Kauffman Center president, director – I didn't catch his title – took the stage to provide introductions, and he asked for a show of hands by the audience members who had never attended a concert at the venue. About two-thirds of the crowd – mostly younger adults – raised their hands, which understandably led to an invite to attend more concerts at the center. The remainder of the crowd consisted of mostly older audience members, who I assume were loyal symphony supporters, donors and season ticket holders.

Once concert was underway, it turned into everything I had dreamed of and more. It was a collection of Ben’s hits and fan favorites – brought to us in a totally new way. With breath-taking string and wind arrangements, booming brass, pounding tympani and snare. There were wind chimes, a harp and an eight-person chorus.

At times I wondered where the PBS cameras were positioned. At other times, I felt like I was watching it all in an European concert hall.

I also found myself fascinated with watching the symphony’s musicians who represented men and women of all adult ages and races. The violin section, for example, included a woman who must have been 60 or 70 years old, sitting behind a woman who I’ll estimate was in her mid to late 30s. More than that, I found myself taking great pride in the fact I was watching Ben Folds play with the Kansas City Symphony. These are our people! I thought.

Ben’s string versions of “Smoke” and “Landed” are well known to dedicated Ben Folds fans. The slower pieces – “Brick” and “The Luckiest” – sounded wonderful, too. But the concert was at its best during the upbeat numbers.

“Effington” set a fantastic tone for the night, and “Steven’s Last Night in Town” – the horns! – capped the first half brilliantly. “Steven’s Last Night” is one of my least favorite Ben Folds songs, but it was one of my favorites with the symphony tonight.

To start the second half, the symphony began playing an unrecognizable melody, sans Ben. After a few moments, Ben reappeared on the stage, hopped on his piano bench and the ensemble dived into “Zac and Sara.” Clapping their hands and singing with the chorus, the crowd seemed to get into “Zak and Sara” more than any other song during the night.

On “Not the Same,” Ben left his piano to sing from a standing mic at the front of the stage and let the symphony do the accompanying work. As usual, Ben instructed and led the crowd through the song’s vocal accompaniment.

“One Angry Dwarf” closed out the second set, featuring a kickin’ horn arrangement and a load of percussion, including a cowbell on the chorus. The cello players were twirling their instruments, too. To me, those upbeat tracks – “Steven’s Last Night,” Zak and Sara,” and “One Angry Dwarf” – were jaw-on-the-floor amazing.

Ben and the symphony ended the night with “Narcolepsy.” Like “Steven,” it, too, is one of my least favorite Ben Folds tracks, but hearing it live always seems to have me reconsidering. Add the symphony to it, and it sounded way better to my ears tonight.

The between-song banter was funny and interesting all night, too. Early in the concert, Ben recounted and apologized for a statement he made during Tuesday night’s show that apparently annoyed some roller derby fans on social media: “You’re more likely to get laid if you take a date to the symphony … than if you take her to a roller derby.” The roller derby reference turned into a running joke throughout the night and he replaced the word “symphony” with “roller derby” in his remarks the rest of the night, adding that he hoped the “roller derby” sticks around for a long time.

Arguably, the highlight of the night came when someone took advantage of an opportunity to shout “Rock this, bitch.” Now, as Ben explained to the audience members who were unfamiliar with Ben Folds live show lore, when an audience member shouts those words, it serves as a challenge to Ben to compose an original song, titled “Rock This, Bitch,” on the spot. … I, personally, enjoy this version, if only for the Weather Channel riff.

Ben proceeded to instruct the symphony to play D chords and E-flat chords and tutti and fortissimo and all sorts of symphonic terms that I’ve forgotten since my piano playing days or were just way over my head. In front of our eyes, Ben and the musicians were stacking layers of music in what amounted to a live rehearsal that lasted about 15 minutes. Ben instructing the chorus on their parts was particularly amusing. The lead female – a Lea Michelle look-a-like, from my vantage point anyway – was instructed to sing “Roller derby, baby.” You can catch that at the beginning of this video, but it cuts out before a funny exchange when she missed one of her cues and let a “S#%*!” fly into the mic, prompting the audience to break into laughter.

To this point, the audience had been extremely attentive and obeyed the Kauffman Center’s request for no audio or video recordings. But when this little composition got rolling, Ben invited anyone in the audience to start recording and “YouTube it.” … I would have obliged, but my phone battery was dead.

So here it is: A video, captured by an audience member in one of the upper levels, that caps the “rehearsal” portion and the result of the spontaneous composing. It’s the genius of Ben Folds at its best … (Search “Ben Folds Kansas City Symphony” and you’ll find the performance from multiple angles.)



When the song was over, it drew an instant standing ovation from the crowd in appreciation of not only Ben but the talent of the Kansas City Symphony.

Below is the set list – to the best of my memory because my iPhone died before “Steven’s Last Night in Town,” thus preventing me from taking any notes the rest of the night – with links to comparable versions, though not from Kansas City (but mostly from the “Live in Perth” DVD), of the songs. ... Social media informs me “Rockin' the Suburbs” was part of Tuesday night's set list, which makes me wonder how different the two nights were.

And here's a photo gallery from The Kansas City Star.

1. “Effington”
2. “Smoke”
3. “Jesusland”
4. “Picture Window”
5.  Piano Concerto: 2nd & 3rd movements
6. “Landed”
7. “Fred Jones Part 2”
8. “Steven’s Last Night in Town”
(Intermission)
9. “Zak and Sara”(Here's a snippet someone caught of tonight's performance)
10. “Cologne”
11. “Annie Waits”
12. “Rock This Bitch”
13. “The Luckiest”
14. “Not the Same”
15. “Brick”
16. “One Angry Dwarf and 200 Solemn Faces”
(Encore)
17. “Narcolepsy”

Star Wars Cantina Band auditions

Oooh, the Star Wars excitement is brewing.

A lot was made last week when a photo was posted of the new cast -- the actors better known as Luke, Leia and Han included -- gathered for a reading. ... I had to pause and push my mouth closed when I saw it, too.



(UPDATE 05.07.2014: Here's a good read about how close Harrison Ford was to not returning to Star Wars.)

But this. This below. Well, I stumbled across it last night. And it. is. awe.some. ... Ben Folds will get my musical juices pumping no matter what he's doing. Then you add in Daughtry, Liz Phair, Mark McGrath, Jordin Sparks and others, dressed in Star Wars garb -- Lisa Loeb as a hologram and armed with a blaster! -- and I'm entertained.



Bonus: 'Star Wars' Behind-the-Scenes Instagrams Reveal Chewbacca's Origin

Reunited ... and it sounds so good

I got my wish a couple years when Ben Folds Five hit the road together again. Toad the Wet Sprocket is playing again, too.

Even Fleetwood Mac -- with Christine McVie, finally! -- recently announced its reuniting  ... Though tickets to see one of their shows will likely be far more than I'm willing to pay.

And the Beatles, well, their Grammys reunion was a dud. And half of them are dead. ... But hey, we have the 50th anniversary of their U.S. debut to bask in. So that's something.

But lately, there's one band I've wished would reunite more than any other.

I gasped out loud when I saw the email tonight and then the headline.

Nickel Creek Announces Reunion Tour, LP

Here's looking forward to their new album and hoping they stop at a venue near me.

Enjoy.

Was that heaven? No, it was a Ben Folds Five concert!

There’s being in Lake Michigan’s presence. There’s afternoon games at Wrigley Field.

And then there’s watching Ben Fold Five live. Twelve years after they disbanded and I doubted whether they’d ever be heard from again.

For two hours tonight I think I died and went to heaven. For two hours, all of life’s stresses left my mind. Everything was right with the world. Life was perfect.

After the crush of missing a chance to see their reunion show at Summerfest, my favorite band in the history of mankind booked some fall concerts, including a show at Kansas City’s Starlight Theatre. I booked a ticket within minutes of the seats going on sale. … It also redeemed another lost opportunity when I desperately wanted to see the band at Starlight in June 1998, only to have my plans derailed when my parents opted to move back to Wisconsin and I was sent with my dad to help him settle in to the new place. Of course, my parents are always quick to remind me that had I not agreed to the move, I never would have met Kates, and, well, the rest is history.

But back to now …

I’ve written so much about Ben Folds over the years, I’m not sure there’s a whole lot more I can say.

The musicianship of Ben Folds, Darren Jessee and Robert Sledge is something special. Their play tonight was so tight, it was as if they’d never been apart. They’ve matured individually as musicians and it's made their little band sound better than ever. They were in their element. By playing on stage together each of them makes the others better. And they make it look so easy.

I’m convinced Ben Folds is one of the most talented pianists in the world, in this era. I’ve said before that Darren Jessee is so automatic on the drums he’s like one of those drum-beating windup monkeys. And Robert Sledge can just plain play a mean bass guitar. Throughout, they took solo turns on their respective instruments, sometimes straying way off the original arrangements.

They opened with “Michael Praytor, Five Years Later,” a song from the new album, and followed it with the softer, slower “Missing the War” off their peak album “Whatever and Ever Amen.”

As I leaned forward in my seat and took in the trio’s signature sound, I couldn’t help but close my eyes and sigh a deep happy sigh. Chills ran down my spine and I was transported back to my glorious youth.

That’s how it went for most of the night as the band drew a pattern of new songs and old songs. Upbeat songs and slow songs. … And with the smoke machines endlessly clouding the stage, I sometimes wondered if I was dreaming the whole thing. (After the opening number, Ben unexpectedly ran off the stage for a couple minutes. When he returned, he said into the mic that he had to tell the stage guys he wanted more smoke.)

I’ll also say this, hearing the new songs live gave me a much deeper appreciation for the new album, and it may grow on me faster than I first thought. I fell in love with “Sky High” and “Hold That Thought” the first time I heard them, and hearing them live tonight solidified them as favorites within Ben’s all-time catalogue.

Here's “Sky High” ...



And here's “Hold That Thought” ...



There was perhaps no song I anticipated hearing more than their 1997 hit, and arguably my favorite of all, “Battle of Who Could Care Less.” Ben led it off with a story about the premise of the song that I’d never heard.



The guys really turned it up a notch during the last third or so of the show, playing “Philosophy” and “Kate” without a break and then transitioning seamlessly from “Song for the Dumped” to “Army” – all four songs making for nearly 20 minutes of non-stop playing. The crowd never sang louder tonight than it did on “Song for the Dumped,” especially when Ben took a break from the piano and led a rollicking crowd sing-along on the chorus. From there, he returned to the piano and knocked out some of his “Weather Channel Music.” Then, when Ben gave the cue during “Army,” the audience knew exactly what to do and belted out the horn parts without hesitation.

Watch …





After “Army,” the band left the stage for a few minutes before returning for an encore featuring two songs that every hardcore fan knew they couldn’t leave without playing. To the crowd’s delight they kicked out “Underground” and then a raucous, fast-paced “One Angry Dwarf And 200 Solemn Faces.”

Here's “Underground” ... I couldn't capture the entire song because I filled the memory card on my camera.



To finish it off, as he always does, Ben picked up his piano stool. Dropped back from his piano, like a quarterback stepping back from the line of scrimmage, and threw the stool at the piano keys for a final thunderous note.

Interestingly, “Landed” was the only song from Ben’s solo albums to make an appearance in the show. I could name at least a dozen other songs I wish the band would have played – “Don’t Change your Plans,” “Mess,” “Evaporated,” “Theme From Dr. Pyser,” “Zak and Sara,” “Video,” “Where's Summer B?”, “Sports and Wine,” “Not the Same.” Heck the concert could have lasted another two hours and I still would not have been tired.

But I wasn't totally surprised. In all my years of seeing Ben and his respective mates perform, they've never played longer than they had to.

All things must come to an end, and I had to drift back to reality at some point.

On a couple side notes ...

Kate Miller-Heidke opened the concert. I'd never heard of her, but I enjoyed her airy vocals and single acoustic-guitar-playing partner. She opened with "Caught in the Crowd," which sounded a lot like this (compared to the dramatically more poppy album version) -- whistling and all -- and it completely delighted me; it was a great tone-setter for the cool autumn night. Sadly, Miller-Heidke went more new agey with the rest of her set, and her opera training showed loudly, which turned me off.

It turned out Miller-Heidke has been touring with Ben Folds for years and said she likes's playing for his audiences because "they're generally made up of intelligent, warm, musically literate people." She's right.

The temperature for the night was in the '50s -- far lower than the '70s we've had for most of this week and far lower than I expected. Wearing shorts and a T-shirt, I was not prepared. And as much as I hoped I could fight through the chill, I decided my enjoyment of the night's entertainment was going to be seriously hindered if I didn't do something. So I ventured over to the merchandise table and my eyes latched onto a couple Ben Folds Five "Reunion Tour" hooded sweatshirts -- or hoodies, as the kids are calling them these days. I've never been one to buy up T-shirts and memorabilia when I go to concerts, but on this night -- for once -- the prices were reasonable. And there was a red hoodie with white trim that I thought was pretty dang cool, so I bought it.

Despite the cool temps, the sky was clear and the full moon shined overhead. It was beautiful fall night for a concert.

Here’s Ben Folds Five’s full set list:

1. Michael Praytor, Five Years Later
2. Missing the War
3. Hold That Thought
4. Jackson Cannery
5. Selfless, Cold and Composed
6. Erase Me
7. Alice Childress
8. Sky High
9. Landed
10. Magic
11. Battle of Who Could Care Less
12. Do It Anyway
13. Brick
14. Best Imitation of Myself
15. Draw a Crowd
16. Philosophy
17. Kate
18. Song For the Dumped
19. Army
20. Underground
21. One Angry Dwarf And 200 Solemn Faces 

The Sound of Ben Folds Five

After all of my sulking, as my friend Gina called it, over the summer because I couldn’t make it to Summerfest for Ben Folds Five’s reunion show …

Wouldn’t you know it, the band announced in August that it was coming to Kansas City. I held my breath and snagged a ticket within minutes after they went on sale.

Tomorrow night, barring an unfortunate surprise (See: The Shins nightmare), I will be heading to the Starlight Theatre for the second time this concert season to the see the one and only Ben Folds Five. It will be my 10th Ben Folds show, and my fifth with the original lineup; I briefly recounted those past shows in my Summerfest post in June and have been doing a lot of reflecting on those good times over these last few days.

And now 12 years after their heartbreaking separation, I’m still having trouble believing they’re back.

Of course, I pre-ordered the band’s new album a couple months ago, too. Then, a note appeared in my email inbox a couple weeks ago with a link to download it. (Novel, right? Decades ago I was buying Ben Folds Five CDs at music stores, and now I’m getting digital files sent to me via email. … Although I did order a CD copy, too, for good measure, as part of the special album package I purchased.)

I’ve listened to the album a few times, but I’m still developing my opinions of it.

It may be coincidence, but there seems to be nods to Folds' past songs and albums throughout the record. “Hold That Thought” reminds of “Jesusland.” “Thank You For Breaking My Heart” reminds me of “Boxing.”

After the opening track, “Erase Me,” which I can hardly stand to listen to, the album is pretty decent. But it hardly carries the catchy, sassy fun that made the early Ben Folds Five albums so captivating.

Rather, the album is more mellow and darker than the early albums. The new album is progression, an aged maturity and a sense that these guys are full-fledged adults who are wiser from their life experiences. So in that sense, as a true fan who’s grown from youth to adulthood with Mr. Folds, I appreciate the album’s grown-up feel.

Paste puts it more eloquently than I in its story about the band this week …

One often had the sense that in its original incarnation, the Ben Folds Five were a bit embarrassed about being the smart kids in school. They tried to cover up with what Folds called “punk-rock for sissies," deliberate sloppiness, undifferentiated loudness and low-brow jokes (admittedly, the jokes were often very funny). But they don’t sound embarrassed anymore.

Now the vocal harmonies are painstakingly precise. Now the allusions to Robert Frost and Frank Sinatra are unexplained and unironic. Now the bursts of grunge noise are carefully controlled and contrasted against jazzy piano. Now even the low-brow jokes (“If you can’t draw a crowd, draw dicks on a wall”) are pointedly framed by Beach Boys harmonies and Herbie Hancock Fender Rhodes. It’s like anyone you meet after a 13-year absence: They’re the same people, but they’re not.

My only real beef is that most of the songs hardly feature Robert Sledge or Darren Jessee the way the early albums did. Those harmonies are lacking and “The Sound of Life” sounds a lot like Folds’ previous solo releases.

Nevertheless, the album has a couple strong standouts. “Sky High,” the wistful tune the group used in the promo video that made me tear up, is by far my favorite track on the album. I also really love “Hold That Thought” with its harmonies and arpeggio piano, and the elegy, “Away When You Were Here” (the instrumental track was featured in another promo video). I’d give the catchy “Draw a Crowd” high marks, too, if it wasn’t for the sophomoric lyrics in the chorus. … “Do It Anyway” is decent song. Even better, the video features the Fraggles.

Using iTunes rating system, I give the album a 3.5 out of 5 stars.

It was inevitable I would rank it against all other Ben Folds albums. Earlier this week, in preparation for the show, my good friend Tom challenged me on Facebook with this question: What one Ben Folds or Ben Folds Five CD do you take with you on your “stuck on a deserted island forever” vacation?

After much consideration, I answered “Ben Folds Five,” the self-titled debut. It’s raw, fun and upbeat. The harmonies are solid. The songs are timeless.

And I proceeded to rank the other albums, too. No compilations or live sets. Just original studio albums … And really, I could take either of the top three on an island and be content.

1. Ben Folds Five
2. Whatever and Ever Amen
3. Songs for Silverman
4. Rockin' the Suburbs
5. Sunny 16 (EP)
6. Speed Graphic (EP)
7. The Unauthorized Biography of Reinhold Messner
8. Super D (EP)
9. The Sound Of The Life Of The Mind
10. Lonely Avenue
11. Fear of Pop: Volume 1
12. Way to Normal (… Only because this is the only Ben Folds album I don’t own, and the reviews weren’t positive. The only song I’ve heard from the album is “You Don’t Know Me,” which I do enjoy and is part of my collection.)

I’m counting down the hours to tomorrow night.

Good reads & links ...
a Ben Folds Five Craft First New Album in a Decade
a Ben Folds Talks New Album, BF5 Reunion
a Ben Folds discusses and performs "The Luckiest"

Missing Summerfest

I’m mourning tonight.

My beloved Summerfest kicks off tomorrow. And for the first time in nine years, I’m not attending.

This is more depressing than the night my mother prohibited me from going to see R.E.M. because there was a tornado watch for our county (It turned out to be a beautiful evening and we never saw a rain drop). And the night I missed The Shins because I was so sick I couldn’t stand up. Combined.

I’m utterly heartbroken.

This year, the Big Gig is celebrating its 45th anniversary. Worse yet, this year’s lineup is arguably the best I’ve seen in all of my years of attending Summerfest. I really, really like this year’s lineup.

Throughout this year’s version of the 11-day festival, there is only one night that doesn’t feature at least one band I’d like to see. This year, I would have set a new personal attendance record.

Let’s go down the list, shall we … And I’m not even considering the Marcus Amphitheater shows, which this year include appearances by the Beach Boys, Kelly Clarkson, Lady Antebellum and Aerosmith.

Tomorrow night: Steve Miller Band

I passed on a chance to see him at Summerfest a few years ago in order to see Stevie Wonder. If I could do it over again, I likely would make the same decision. But dang, it would be good to hear Steve Miller’s book of hits live. If I was going to Summerfest this year and I was limited to seeing just three performances, this would be one of them.

Thursday night: Ben Folds Five

I’ll come back to this one.

Friday night: Mutemath & Fun.

I was hooked on Mutemath the first time I heard their debut album, and I was mesmerized by their live show later that year. I would totally see them again.

As far for Fun, they’re only one of the hottest bands on the charts this summer, and I can only imagine how sweet it would be to be in that crowd when they knock out “We Are Young.” To hear that audience singing the chorus at the top of their lungs is sure to be a memorable time. And hey, let’s not forget the rest of that album of theirs is pretty decent, too.

Saturday night: The Briggs Bluesbusters & Three Dog Night

The Bluesbusters are a super classic rock cover band and one I’ve enjoyed as a staple of each year’s festival lineup since I first saw them in 2006.

I saw Three Dog Night nearly 20 years ago with my dad – my very first concert experience – as part of a rock ‘n’ roll show that also featured The Buckinghams, Gary Puckett & the Union Gap and The Turtles. Much like Steve Miller, I’m more schooled in Three Dog Night’s catalogue now then I was then, and I’d love to see them again. Song I’d most want to hear them play: “Mama Told Me Not to Come.”

Sunday night: Chicago

These guys aren’t the band they once were – I much prefer their classic rock-jazz sound over the ballads that have defined them over the last couple decades – and some of the original members are gone. But I would relish a chance to see one of my all-time favorites just once. Not to mention hearing “Make Me Smile” live.

Tuesday, July 3: Joe Walsh

Member of the Eagles. Legendary guitarist. Three more words: “Life’s Been Good.”

Wednesday, July 4: Katie Herzig & Fountains of Wayne

One of the darlings of the indie music arena, I’ve been intrigued by Katie Herzig for awhile. This would have been a great opportunity to get to know her music a little better.

I’ve been a fan of Fountains of Wayne since long before “Stacy’s Mom” made them something of a Top 40 radio favorite, and listening to their groovy debut album always conjures memories of the fall of my freshman year of college. Fountains of Wayne is another example of a band I was thisclose to seeing before other circumstances presented themselves. Kates and I had gone to seen them at Summerfest in 2004 as they were still riding the wave of “Stacy’s Mom,” but a storm rolled in about an hour before they were due to hit the stage. Soaked, cold and miserable, we gave up our second row seats and headed home. I’ve been looking for another opportunity ever since.

Thursday, July 5: Death Cab for Cutie

I’m just going to put it out there: The night I saw Death Cab is, arguably, the worst concert experience I’ve had. But I still thoroughly enjoy their music and I’d gladly take a do-over.

Friday, July 6: OAR

Yes, I said after I saw OAR at Summerfest last year that I’d be ok if I never saw them again. But it is Summerfest, and if the opportunity knocks. …

Saturday, July 7

The only night that doesn’t feature an artist or band I’d like to see.

Sunday, July 8: Hanson

Not only is “Mmmbop” one of funnest songs of the ‘90s – yes, I said that – the Hanson boys have sustained themselves as a good-sounding little rock band. (See: “Give a Little.”) I’ve been chasing chances to see them ever since those “Mmmbop” days and I missed a number of them in Milwaukee. It was my good friend Tom who saw them play on a whim in a mall parking lot in Kansas City years ago and reported that they really could play.

So there it is. Sigh.

In a previous life, I would have done whatever I needed to do to be at Summerfest this year. But with a new baby and the work on my master’s degree intensifying, it's not happening. Now, Summerfest is an eight hour drive for us and no longer just one hour up the road.

Especially as I’ve grown older the last few years and we’ve started our family, I always left the hallowed Summerfest grounds thinking, Take it all in and enjoy it. This may be the last time you get to do this. The thought was especially present during our memorable night with Sheryl Crow, the night before our big move. But we made it again last year and made a glorious vacation out of it.

I’ve accepted the circumstances. And I’ll get over it.

* * *

The killer is what I’ll be missing Thursday night.

Ben Folds Five. One of my favorite bands. Period.

After a 12-year hiatus and a run of solo albums, Ben Folds, Darren Jessee and Robert Sledge have reunited to record a new album. They’re playing a short run of reunion shows at festivals this summer, one of which is Summerfest.

Kates and I briefly discussed a road trip for a one-night stand in Milwaukee to see them before submitting to all the reasons we shouldn’t do it.

I nearly exploded in a dance around my office a few months ago when I saw a Facebook post announcing the reunion. I’ve hung on every Ben Folds Five-related posting since then, and I nearly cried earlier this month when I caught this video …



The images and memories of those golden shows come rushing back. Summer shows in Kansas City. A school night road trip to Lawrence.

Another to Omaha that proved to be the best of all. They were at the height of their game then with the Reinhold Messner album, and the memory of wild fans hanging over the balcony railing, whaling and pumping their fists as we all sang “Battle of Who Could Care Less” is etched in my memory bank. (A new band called Train put on a pretty great show that night, too. They played an acoustic set because their instruments were lost on their way to the show.)

Ben Folds Five was a diversion from those chaotic times of my youth. Their three albums spanned my high school years to a major family move after my freshman year of college. Everything was right when they were playing on my stereo or discman. I'm crazy but I get the job done was my philosophy. The band’s breakup was the beginning of the end of my adolescence.

Once Kates and I were together, I turned her into a fan and she saw a few more shows with me. But Ben Folds was a solo pianist then, and it wasn’t quite the same. We saw him during my first-ever trip to Summerfest in 2003, although “saw” is the operative word because our view of the stage was completely blocked. Rather, my fondest memories of the solo Folds stem from our second trek to Summerfest in ’04. The crowd’s singing nearly drowned out Ben all the way through that night as he played a healthy dose of Ben Folds Five favorites as well as his newer solo stuff, like the goodie, “There's Always Someone Cooler Than You.”

We saw him twice in ’05. At Summerfest and then at the Chicago Theater. We last saw him in 2007, at Summerfest. And it was good.

A couple weeks ago, this video appeared of Ben Folds Five performing at Bonnaroo. They’re aged now and hardly look like the kids they were the first time I saw them during the summer of 1997. But “Battle of Who Could Care Less” has never sounded so good. The reviews say it all.



In the words of Ben Folds: It sucks to grow up.

My trade-off -- for what it's worth -- is getting to experience the Major League Baseball All-Star Weekend next month in Kansas City. It’s a once-in-a-lifetime opportunity for sure, and the excitement will build, I’m sure, as those days draw closer.

But I’m not feeling it tonight.

Prince and stuff

I've read 85 pages in "The Shaping of American Higher Education" -- it kept me up until 1:30 a.m. this morning, thank you very much -- and I've finished the written reflection for my graduate assignment this week -- one of these weeks I'm going to work "peachy keen" into a paper as a tribute to Kates. Now I can write about more pressing issues.

Like -- holy crap -- Prince Fielder signing with the Tigers.

Now, let the record show that I thought when the offseason began, if Prince didn't resign with the Brewers, the Tigers would be the next best fit.

Fairly quickly, the Tigers seemed to be out of the picture, thanks to a notion that Prince refused to play there because of a riff with his father. Whatever. (... Hey, Prince, accept the olive branch already.)

There was little doubt in my mind that he'd sign with an American League team because of the advantages he could give a team in a DH role. I never saw the Yankees or the Red Sox as contenders for his services because they didn't need him. Baltimore seemed like a decent fit. So did Anaheim until they swiped Albert Pujols from the Cardinals. I never took the talk of Seattle seriously.

But Detroit. He would stay in the midwest. Detroit is built on hard-working, blue collar fans -- just like Milwaukee. He could rotate playing first base and DH and be part of a fearful one-two punch with Miguel Cabrera. Prince could help Detroit finally reclaim a world series title and get a deserving Jim Leyland one more before he has to hit the road.

I should also say I did love the ideas floated of Prince signing with the Cubs because of his connection to Dale Sveum, but Theo Epstein never let those rumors persist.

As the process drew on, and the Rangers and Nationals seemed to be the only teams hanging around, I was rooting for Prince to accept a Rangers uniform. The Rangers are now a legitimate contender and I see a lot of the same characteristics in their team make-up that the Brewers possess. ... Not for a minute did I see Prince landing with the Nationals and being happy in D.C. In some ways I felt sorry for him, that the process had drawn on so long, that maybe his big-time agent was calling the shots, and that maybe if he could do it over again he would stay put in Milwaukee.

Then, bam. Tuesday afternoon arrives and the reports come that Prince signed with the Detroit Tigers.

I'm already giddy about the idea of catching some Tigers games in Kansas City.

Meanwhile in Milwaukee ... The Division Champion pennant was hung, and there may still be hope for Ryan Braun. (Watch his acceptance of the NL MVP Award)

(Updated: 01.26.2012) Some good reads ...
a Tigers introduce Prince Fielder
a Were it not for V-Mart's injury, Fielder might have been a Dodger ... As I stated above, I felt the Tigers could have made a play for Prince at any time, but the Victor Martinez injury certainly made things more interesting.
a Determined to win, Tigers make Prince fit
a With echoes of A-Rod, Fielder deal gives Tigers a powerful punch
a Still a 'sad day,' Melvin says
a Prince provided Milwaukee many memories ... These are great. So many good memories. Especially the video associated with No. 3 on the list.
a Start your engines: Prince arrives in Motown

* * *

In other news, Ingrid Michaelson announced a new tour today. That literally circles the United States and never comes close to Kansas City, located quite conveniently in the middle of the country. And she's haunting me with ads for her new album appearing on nearly every web page I visit.

Seriously. Kansas City. Music black hole.

A short time later, those feelings were replaced with pure elation brought on with a Facebook posting by Ben Folds that read:

It's happening fo sho - Day 1 in studio with Robert and Darren through March. #NewBenFoldsFiveRecord

The post was accompanied with a photo of Ben and original Ben Folds Five members Robert Sledge and Darren Jessee rehearsing in the studio.

I nearly cried.

For the uninitiated, Ben Folds Five broke up in 2000. Ben Folds has put out some pretty good records on his own, but it's not the same. ... I was fortunate to see them in concert four times, including one incredible night in Omaha, Neb., during the Reinhold Messner period -- for more reasons than the BF5 performance, but that's worthy of a whole different post. Here's hoping the trio can recapture the magic.

(In the midst of my elation, my friend Laura also reminded me The Shins have a new album due out in March ... This is shaping up to be a great year for music.)

When I got into my car to drive home from work tonight, I cranked this.

What fall TV?

Kates and I had settled into the fourth season of “Mad Men.” And we were excited to dive back into other longtime favorites. “The Office.” “30 Rock.” “Big Bang Theory.” “How I Met Your Mother.” “Grey’s Anatomy.” And “Modern Family” ... We were hooked on all of those shows from the moments we saw early spring promotions, stuck with them like glue from the pilots and introduced several of them to our friends. (Kates and I have long had a knack for sniffing out the quality shows before the bandwagon fills up, thank you very much. ...)

We had the DVR back. We were so looking forward to a new TV season.

Then our TV blew up. 

Our entire television-watching schedule was thrown out of whack. We lost track of shows. And now we’re so far out of the loop on TV, our grandmothers could put us to shame. ... We can only hope to catch up on them via Hulu or DVD.

Sure, we pulled an old TV out of storage. But we've yet to get the DVR working again. That's mostly a result of me being too busy too figure it out, not a lack of trying.

Then again, I guess it's not a total loss. Based on accounts of friends, the little TV we did watch -- and what I've read -- this season was a dud. ... I tried watching “Ordinary Family” and thought the pilot was horribly cheesy.

The only new show we really were getting into was "Better With You." But much of that stemmed from our admiration for the cast and especially seeing Josh Cooke and Jennifer Finnigan together again. (Oh "Committed," how little time we had with thee ... )

This month, we’re working our way back. Starting with “The Sing Off.” … Funny, “The Sing Off” seemed to be the show everybody was talking about last year around this time. But that also was around the time the chaos was just beginning in our lives. We caught the finale, but didn't have near the emotional investment of other viewers.

It’s no secret what I think of Ben Folds. As a long time Boyz II Men fan, I’ve always had an admiration for Shawn Stockman’s work, too. … Nicole Scherzinger -- she’s fun to look at.

Their critiques are refreshingly thoughtful, genuine, honest and credible. I love that they actually offer technical advice and speak the lingo. Can you imagine any of the judges on that Fox-show-we-won’t-be-watching-this-season discussing the merits of a performer's tones, reverb and syncopation?

The trio of judges on "Sing-Off" doesn't dumb it down for viewers. Their egos don't blur the performances. ... And they don't take themselves too seriously. When you have Ben Folds talking about "birth control music" and Shawn Stockman having musical orgasms (and I thought I was a crazy person for being prone to musical orgasms ... ) it makes the show far more entertaining for everyone.

As for the performers, Committed was top-notch from the beginning with their Boyz II Men-esque harmonies. “Apologize” was my favorite performances from them.

The Backbeats. I didn't get their debut performance of "If I Were A Boy" and thought they should have gone on the first episode, but they grew on me each week. I thought their performance of "Love Shack" rocked. And while I can't stand Lady Gaga, I even enjoyed the Backbeats' Lady Gaga medley.

Gone too soon: Groove For Thought. Their take on "Cool Like That" was arguably one of the best of the season, and I loved the jazzy Take 6 vibe they offered. I could listen to that stuff all day.

Other notables: The Whiffenpoofs: “Grace Kelly,” Street Corner Symphony: “Hey Soul Sister,” Men of Note: “For the Longest Time,” Eleventh Hour: “Just the Way You Are.”

Also worth watching: Season 1 winner Nota performing “I Got a Feelin’.”

The other groups, although sometimes charming and enjoyable, didn't make much of an impression on me. ... Don't get me started on Jerry Lawson & Talk of the Town. Yes, they've got a great story. That's nice. They didn't belong on the show.

The group performances can be breath-taking and they're devoid of the kooky choreography that the Fox-show-we-won’t-be-watching-this-season has become known for. Oh, and they actually sing. ... Check out "Use Somebody."

The buzz surrounding the show has been strong. The performances have been grand. Thus the news that we might see a third season next year comes as no surprise.

For more, check out EW's always amusing (and spot-on) reviews ...
Night one: Singing, swinging, and Lachey pun bringing!
Night two: Sing On!
Night three: Embrace the cheese, please!
Night four: 'Why does this have to be a competition?'
'The Sing-Off' finale recap: And the winner is...

Songs of the season

Following up on a previous post, Summerfest has finished announcing its headliners …

If this was like past summers, this would be my go-to list …

• Thursday, June 24: Sheryl Crow
• Tuesday, June 29: Guster
• Wednesday, June 30: The Moody Blues
• Thursday, July 1: OAR
• Friday, July 2: Yes
• Saturday, July 3: Counting Crows

… And those are only my top choices. Never mind that I’d also love to catch a glimpse of Colbie Caillat, She & Him, Joan Jett & the Blackhearts, The B-52s, 311, Danny Gokey, and Blue Oyster Cult playing “(Don’t Fear) The Reaper” (... more cowbell!)

But this won’t be like past summers. We’ve entered a new era. We’re starting over and trying new things.

At least I can take solace in the fact I’ve seen Guster, I've seen OAR and I've seen Counting Crows -- three times, in fact, on all three. It’s the idea that they’re so darn fun to hear and see that keeps me wanting more! I also can settle on the idea that The Moody Blues and Yes are, um, aged and perhaps wouldn’t be worthwhile …

Which leaves the one and only Sheryl Crow. The dream isn’t dead yet.

If all goes well and according to plan, we’ll be moving from K-Town the weekend that Ms. Crow will be touring through the area. Which is also my birthday weekend … Yay me.

Of course, now I’m on a mission to find the hot concert venues around our new home base.

* * *

The New Pornographers show I was pining to attend in June, however, is not likely to happen for me.

Sigh. It’s ok. Really. We have a lot on our plate right now. And we don’t need to spend the money. … Sigh.

Ooh, but it could have been great. Seeing one of the great indie bands of this era, the ridiculously talented supergroup, with all eight of its members jamming on a stage together. Hearing upbeat rock songs like “The Bleeding Heart Show” and “All the Old Showstoppers” live. Perhaps Neko Case would pull out a couple of her solo songs …

Surely there would be some cuts from their new album, "Together," which I picked up the day after its release a couple weeks ago. I haven’t felt the immediate love I did for 2007‘s “Challengers,” but it’s growing me.

Here’s a great perspective from AllMusic.

* * *

I am certain on not liking another album …

Court Yard Hounds. In case you’re not familiar with the duo, it’s the Dixie Chicks, minus Natalie Maines. You’d think it’s gotta be great, right!?

I had already added it to my Amazon wish list in wild anticipation, when I streamed it online a couple weeks ago … And oh, how very disappointed I was. A Washington Post review couldn’t have summarized it better: “tepid, torpid and disappointingly pleasant.”

I want Natalie Maines back.

* * *

The other night I spotted a posting about Ingrid Michaelson covering R.E.M.’s “Nightswimming.”

I gasped and logged onto YouTube for a glimpse.

In our household: “Nightswimming” + Ingrid Michaelson = Bliss.

Check it out.

* * *

Before I go …

Here’s one more I got wind of this week …

Ben Folds covering Elliott Smith’s “Say Yes.” More bliss.

Check it out.