Ryan Adams & The Cardinals @ Landmark Theater - 9.26.08
Much has been said about Ryan Adams over the last decade, especially online. Few artists spark the debate, support and vitriol that Adams does due to a combination of factors, some of which include his music. Steve Hyden, of the AV Club, provides a noteworthy examination of Ryan Adams and his persona in an article from last May:
http://www.avclub.com/content/blog/ryan_adams_and_the_problem_with
Regardless of his persona, Adams is a prolific, remarkably consistent and often under-appreciated songwriter. With The Cardinals, Adams seems to have settled into a musical comfort zone where the focus rests, appropriately, on the band and the music. Having read about the infamous Ryan Adams unpredictable touring history I was not sure what type of show to expect at the Landmark but any expectations I had were easily exceeded. The band played two solid sets filled with songs from throughout the Adams catalogue, tracks from the band's solid new album, Cardinology, and even a few of Cardinal guitarist/vocalist Neal Casal’s originals.
The setlist included a number of songs that I hoped to hear (in that ideal world where I get to write all the setlists) but never really expected to, including: the relaxed La Cienega Just Smiled, which the Cardinals built to a rousing crescendo; the dreamy Cardinals version of the originally stark Adams cover (improvement?) of the Oasis standard Wonderwall (from Love Is Hell); the rocking Cold Roses and This Is It; a soaring Come Pick Me Up; This House Is Not For Sale, another standout from Love Is Hell; and the intense, show closing I See Monsters. The new songs from Cardinology more than held their own with the rest of the catalogue, and standout new tracks included: show opener Cobwebs, Magick, Fix It and Go Easy. The band also played a number of tracks from Adams’ previous album, Easy Tiger, including Two, The Sun Also Sets, Everybody Knows, Oh My God Whatever Etc., and a guitar-workout version of Off Broadway.
Adams’ stage banter was good-natured and amusing throughout the show, a highlight being a bit about meeting Mark Slaughter. The set and performance were all that one could hope for in a show, and in a nice venue like the Landmark Theater it would have been an ideal show if not for the apparently unavoidable Landmark crowd. Like the Curse of the Bambino, the Curse of the Landmark Crowds reared its ugly head once more. Almost any show I have attended at the venue has included less than impressive crowd behavior, from the pit area fight that cut one show off mid-encore (the band left having seen enough) to the drunk and abusive couple that seemed to be practicing to film an upcoming episode of COPS in spite of the band and crowd around them.
In a depressing turnout, only half of the first floor of the Theater was full (tickets were not even sold for the balcony). Those of us in CNY often wonder why Syracuse does not attract more shows but maybe turnouts like this are the reason why. Those in attendance seemed to behave as if they had been split into two groups and directed how to act so that they may be observed by scientists. Half of the crowd stood as soon as the band came out and enthusiastically responded to the music throughout the show. The other half sat politely to watch and listen. Neither are necessarily bad options, but when the split is nearly down the center of the crowd the visual was a bit strange. Literally, those to the left of center sat while those to right stood (as opposed to the traditional, I guess, standing in the front and sitting in the back). Not so much bad behavior as weird.
As the end of the first set arrived Adams made a proposition to the crowd. If the crowd could remain silent for a minute the band would forego the set break and plow straight into the second set. Of course, a few seconds into the silence some genius yells and costs the collective 15-20 minutes of extra music. In retrospect, I am sure that the yell was worth it.
So as the crowd (most likely those standing to the right) delivered the MFC (Mother F@#%n Cardinals) chant to inspire the band and show their appreciation, the other MFC (Mother F@#%n Curse) was already conspiring against them. I realize that this talk of the Landmark Curse may diminish the show itself but that would be unfair - just a minor glitch during an excellent performance. The bigger issue, really, is why such an impressive band and a singer with the catalogue of Adams did not sell more tickets. From the crowd pleasing set to the strong performance this show would have been an ideal evening for any music fan.
To listen to the show, head over to the always reliable Live Music Archive:
http://www.archive.org/details/ryanadams2008-09-26.sbd.flac16
Much has been said about Ryan Adams over the last decade, especially online. Few artists spark the debate, support and vitriol that Adams does due to a combination of factors, some of which include his music. Steve Hyden, of the AV Club, provides a noteworthy examination of Ryan Adams and his persona in an article from last May:
http://www.avclub.com/content/blog/ryan_adams_and_the_problem_with
Regardless of his persona, Adams is a prolific, remarkably consistent and often under-appreciated songwriter. With The Cardinals, Adams seems to have settled into a musical comfort zone where the focus rests, appropriately, on the band and the music. Having read about the infamous Ryan Adams unpredictable touring history I was not sure what type of show to expect at the Landmark but any expectations I had were easily exceeded. The band played two solid sets filled with songs from throughout the Adams catalogue, tracks from the band's solid new album, Cardinology, and even a few of Cardinal guitarist/vocalist Neal Casal’s originals.
The setlist included a number of songs that I hoped to hear (in that ideal world where I get to write all the setlists) but never really expected to, including: the relaxed La Cienega Just Smiled, which the Cardinals built to a rousing crescendo; the dreamy Cardinals version of the originally stark Adams cover (improvement?) of the Oasis standard Wonderwall (from Love Is Hell); the rocking Cold Roses and This Is It; a soaring Come Pick Me Up; This House Is Not For Sale, another standout from Love Is Hell; and the intense, show closing I See Monsters. The new songs from Cardinology more than held their own with the rest of the catalogue, and standout new tracks included: show opener Cobwebs, Magick, Fix It and Go Easy. The band also played a number of tracks from Adams’ previous album, Easy Tiger, including Two, The Sun Also Sets, Everybody Knows, Oh My God Whatever Etc., and a guitar-workout version of Off Broadway.
Adams’ stage banter was good-natured and amusing throughout the show, a highlight being a bit about meeting Mark Slaughter. The set and performance were all that one could hope for in a show, and in a nice venue like the Landmark Theater it would have been an ideal show if not for the apparently unavoidable Landmark crowd. Like the Curse of the Bambino, the Curse of the Landmark Crowds reared its ugly head once more. Almost any show I have attended at the venue has included less than impressive crowd behavior, from the pit area fight that cut one show off mid-encore (the band left having seen enough) to the drunk and abusive couple that seemed to be practicing to film an upcoming episode of COPS in spite of the band and crowd around them.
In a depressing turnout, only half of the first floor of the Theater was full (tickets were not even sold for the balcony). Those of us in CNY often wonder why Syracuse does not attract more shows but maybe turnouts like this are the reason why. Those in attendance seemed to behave as if they had been split into two groups and directed how to act so that they may be observed by scientists. Half of the crowd stood as soon as the band came out and enthusiastically responded to the music throughout the show. The other half sat politely to watch and listen. Neither are necessarily bad options, but when the split is nearly down the center of the crowd the visual was a bit strange. Literally, those to the left of center sat while those to right stood (as opposed to the traditional, I guess, standing in the front and sitting in the back). Not so much bad behavior as weird.
As the end of the first set arrived Adams made a proposition to the crowd. If the crowd could remain silent for a minute the band would forego the set break and plow straight into the second set. Of course, a few seconds into the silence some genius yells and costs the collective 15-20 minutes of extra music. In retrospect, I am sure that the yell was worth it.
So as the crowd (most likely those standing to the right) delivered the MFC (Mother F@#%n Cardinals) chant to inspire the band and show their appreciation, the other MFC (Mother F@#%n Curse) was already conspiring against them. I realize that this talk of the Landmark Curse may diminish the show itself but that would be unfair - just a minor glitch during an excellent performance. The bigger issue, really, is why such an impressive band and a singer with the catalogue of Adams did not sell more tickets. From the crowd pleasing set to the strong performance this show would have been an ideal evening for any music fan.
To listen to the show, head over to the always reliable Live Music Archive:
http://www.archive.org/details/ryanadams2008-09-26.sbd.flac16
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