(no subject)
Mar. 3rd, 2005 09:05Went with M for a night out without the kidlets to see Alison Kraus and the Union Station last night. The music was phenomenal, though Ms. Kraus spent a lot of time talking between songs while the other band members were tuning, and not all of it was entertaining. I kept wanting to shout out "Your band is waiting on you, Ali..." In spite of that, it was all in all a very consistant and enjoyable show, with one glaring exception, and I do mean glaring.
They, of course, performed Man Of Constant Sorrow. I mean, you don't pay more than a hundred dollars for two people, put Dan Tyminsky on stage, and not hear MoCS. The set was minimalist, white drapes artfully hung with lighting providing the color, and the lighting transitions between songs took us from one to the next, like floating on a gentle current. Dan picks up the cedar top Martin - the one tuned in DADGAD, which is the tuning for MoCS, and I think, "Okay...could be..." At that moment, a dozen lekos on electronic mounts swivel and point into the audience, piercingly bright white light like the flash of an explosion, and I spent the first few bars of the song trying to blink my vision back, thinking "Who asked for that fucking light cue?" They ended the song that way, but at least I anticipated it and shielded my eyes.
As you watched the band, it was like watching a group of Just Folks: folks who'd been working together for years, who were great friends, who loved what they were doing. The synergy of it was just amazing.
I had another thought, but I think it's important enough that I'll save it as a separate post.
no subject
Date: 2005-03-03 19:43 (UTC)no subject
Date: 2005-03-03 19:51 (UTC)Never did thank you, btw, for the e-card. I was pleasantly surprised, and very pleased! So, thank you.
no subject
Date: 2005-03-03 20:54 (UTC)