Video: Bo and the Locomotive “On My Way”
Photo by Johnny Andrews | jandrews@post-dispatch.com
Clever title, right?
Since they’re known for the absurd amount of musical prowess displayed during their live shows, it’s no surprise Bo and the Locomotive would eventually shoot a live video. Carved out by STL Today‘s LISTEN division, the video shows some familiar faces around Cherokee being galvanized into a food fight by Bo’s enthusiastic performance.
See the video by hitting the link below:
”On My Way” – Bo and the Locomotive
This entry was written by , posted on January 5, 2012 at 3:00 pm, filed under Live, News, Video and tagged Bo and The Locomotive, video. Leave a comment or view the discussion at the permalink.
How to Spend Your Saturday Night: Violins to Vocoders
St. Louis is in for a great night, we have two pretty serious events going down one after another and less than half a mile apart – how can you lose?
Up first is a show put on by St. Louis’s New Music Circle featuring legendary experimental musician Tony Conrad at 7:30 at White Flag Projects (4568 Manchester).
“For nearly fifty years, experimental sound and visual performance artist, Tony Conrad, has been making drone music and short films that re-examine and re-invent their form, content and structure.
Conrad was one of the early pioneers of New York minimalism and deep listening microtonal music. He worked in 1962 on LaMonte Young’s “Dream Music” project with the likes of John Cale and Angus MacLise (both moving on later to form The Velvet Underground). Since then, he has remained the purest and most ascetic of the minimalists.
Violin has remained his trademark instrument, although he has also manipulated sound through electronics, studio techniques, and projects with various collaborators.”
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After having your mind thoroughly blown by Conrad, talk a short stroll down to the Gramophone for Smoove, a new dance party (with your’s truly getting it in on the 1s and 2s from 11-12) guaranteed to make you shake down the walls with a solid line up of disco, house, booty and moombahton. Be prepared to get messy, though, because this is a glow paint affair, so plan your outfits accordingly – or just leave your outfit at the door, your choice.
This entry was written by , posted on December 3, 2011 at 1:01 pm, filed under Live, What's Going On and tagged conrad, dance, disco, djs, events, experimental, gramophone, minimal, moombahton, new music circle, violin, White Flag Projects. Leave a comment or view the discussion at the permalink.
11/11/11 Street Bash!
Looking for a good time (and not exactly the “good time” promised by the nebulous phone number scrawled in lip stain on the doors of The Jade Room’s bathroom stalls)? Walk, bike, drive, fly, or teleport down to Cherokee Street for Eleven‘s 11/11/11 event. Or, “Eleven-Cubed” if you would like your tongue untied. Seriously, say it fast, “11/11/11″… it’s hard!
***Check out…***
4:45 – 5:45 // The Hobosexuals @ The Nebula
5:00 – 6:30 // Bootigrabbers Delight @ Black Bear Bakery
5:30 – 6:15 // CANCELED *** Owen Pye @ Drew Henry Salon & Gallery
5:45 – 6:45 // Bredon of Last to Show First to Go @ The Nebula
6:00 – 6:45 // Caleb Travers @ PHD Gallery
6:00 – 6:30 // Spastic Plastic @ Aisle 1 Gallery
6:30 – 7:15 // Beth Bombara @ Firecracker Press
6:45 – 7:30 // Volcanoes @ Aisle 1 Gallery
7:00 – 7:45 // Kid Scientist @ Paper Boat Studios
7:30 – 8:15 // Last to Show First to Go @ The Archive
7:30 – 8:15 // The Campfire Club @ All Along Press
8:00 – 8:30 // Since 1902 @ Apop Records
8:45 – 9:30 // Kid Counselor @ Apop Records
8:30 – 9:30 // Arthur & the Librarian @ All Along Press
9:00 – 9:45 // PALACE @ FOAM
10:15 – 11:00 // Bear Hive @ FOAM
@ Off Broadway: STL LOUD 3 Release Show
- Fire Dog
- Funky Butt Brass Band
- The Reedling Gilly
- Rockwell Knuckles
- Superhero Killer
*Doors open at 8:00 P.M.*
@ 2720 Cherokee
- Stank Nasty
- Jon Eric “Electric Banjo Man”
- Justin Torres Loop Project
- Mikey Wehling
*Suggested $5 donation upon entry*
@ ArtMonster
- 18andCounting
- Dylan Hassinger
@ Fort Gondo (poetry series)
- Chris Martin
- Ted Mathys
- Mary Austin Speaker
*Starts at 7:00 P.M.*
*** Participating:***
2720 Cherokee
Aisle 1 Gallery
All Along Press
Apop Records
ArtMonster
The Archive
Black Bear Bakery
Cherokee Street Bikes
Drew Henry Salon & Gallery
Firecraker Press
FOAM
Fort Gondo
I Scream Cakes
Labeebee’s Mid-East Cafe
Off Broadway / STL LOUD 3
Paper Boat Studios
PHD Gallery
STL STyLehouse
*** … and more! ***
*** Consume… ***
Flowers to the People arrangements
The Tin Can food
Labeebee’s Mid-East Cafe food
Urban Chestnut beer
Sicily Streat food truck
*** … and more! ***
Shows on-going from 4pm. Schedules and maps available on the street!
The celebration kicks off in the afternoon at Eleven’s office in The Nebula, 3407 S. Jefferson, St. Louis, MO 63118.
This entry was written by , posted on November 10, 2011 at 12:00 pm, filed under Live, News, Upcoming, What's Going On and tagged 11/11/11, cherokee, Cherokee Street, Eleven, eleven cubed, event, events, neighborhood. Leave a comment or view the discussion at the permalink.
Preview: Navigator
What you’ll hear: Bad Case of the Visions by Navigator
This entry was written by , posted on November 3, 2011 at 4:08 pm, filed under Live, News, Upcoming and tagged local, navigator, preview, show. Leave a comment or view the discussion at the permalink.
Caleb Travers: Ain’t No Jukebox
If you did not make it to Caleb Travers EP Release show on October 14th, you definitely need to be sure and keep a look out for his upcoming concerts. Not only is the new EP, Ain’t No Jukebox, one of the best folk albums to come out of St. Louis this year but the live show is nothing short of energizing and entertaining.
The night began with a set by local singer/songwriter Owen Pye. Typically, I anticipate an acoustic set as being somewhat hypnotizing. However, Pye was quite the exception. His joking stage banter and active stage presence combined with the bold guitar parts and story telling lyrics (“He wants to give her time to think & catch up on some sleep, he needs some time to define our barriers.”) were the perfect distraction from the exhaustion of the week.
Next up was Caleb Travers. The local music vet has by far released his most powerful and gorgeous ballads yet on Ain’t No Jukebox. The strings and drums that accompanied him on the EP were also present for the set at Off Broadway and they added the perfect atmosphere to the evening. The transitions were smoothly reflective of the mood of the tunes as they related to his experiences in the city, with his family, and other life encounters (“I’m tired of nothing being right, driving ‘til we see the light.”)
Vampires of This Town by Caleb Travers
This entry was written by , posted on November 1, 2011 at 10:00 pm, filed under Editorials, Live, New Music. Leave a comment or view the discussion at the permalink.
Preview: So Many Dynamos
Residencies? WHAT? Bands have those? Well, So Many Dynamos will at the beloved neighborhood coffee/beer joint FOAM!
This entry was written by , posted on October 27, 2011 at 12:15 am, filed under Live, News, Upcoming and tagged Black Spade, Foam, M.S.I.F., preview, So Many Dynamos, Syna So Pro, Volcanoes. Leave a comment or view the discussion at the permalink.
Review: Theodore and Adult Fur at the Crack Fox 10/13/11
Review by Blair Stiles
Photography by Tara Pham
Sometimes ironic conflation, the combination of two sonically different forces, or two things that just don’t make sense together… winds up working. PB&J, ethereal whale sounds travelling through dense oceans, Gary Busey and Keanu Reeves in Point Break – all things that are inherently different but somehow come together perfectly. Harmony, people.
The juxtaposition of Adult Fur with Theodore at the Crack Fox last night was a puzzling one.
Plagued by a broken projector (and performing essentially in the dark – thus no photos), Adult Fur’s performance lacked the “show” necessary to give non-instrumentalist electronic music needs to pull off live performance to an audience. With white sheets hung up with black yarn in place of his planned women in white dresses, Ryan McNeely’s set felt like one of those “skinny” menu options. Still tasty, still interesting, but not enough to placate one’s hunger for something substantial.
If the projector hadn’t broken, if his back-up ladies had shown up, and if The Last Unicorn would have been playing on those blank white sheets to accompany Adult Fur’s set (a combination of Adult Fur and ii), undoubtedly the show would have come together. Both Adult Fur and ii are great albums, but rendered without any sort of manual performance, they fail to achieve enigma or art – key elements to live electronic music. And it begets the question: What could McNeely do if he set out to create a performance that comfortably combined the aural and visual? Is there a possibility for a performance art piece or an installation that would move a crowd? Those are things for the man at the helm of Adult Fur to mull over.
In contrast, Theodore took 20 minutes to set their stage up. The stage included just them, their instruments and their amps, and they proceeded to throw comfortable confidence and bravado at the audience with an opening Americana-cized “Ave Maria.” Before one verse was over, everyone in the place was silenced and at full attention. Sadly, this captivation is a rare feat for a local band in St. Louis, but Theodore is one that does not disappoint.
Theodore delivers a HUGE performance. Even the lead singer’s unbuttoned flannel became symbolic of the band’s comfort on stage. Theodore is a band talented enough to make the audience care. If you peered into the clusters of Crack Fox patrons, mostly affable, bike-riding, hash-smoking hipster-types and spritely but grubby looking, late-twenty- and early-thirty-something, eternally youthful romancers of wanderlust… you would have seen the majority craning their necks around one another to see and stamping their feet along with Theodore’s music.
Theodore’s music was well-constructed (and even their cover of Harry Nilson’s cover of “Save the Last Dance For Me” was nothing short of gorgeous. I can still hear that chorus), their performance enigmatic, nuanced, and irreverent. Theodore played like they owed it, to make the audience feel something. Singer Justin Kinkel-Schuster has a raspy howl that is emotional enough to help make sense of it all and feral enough to glide gracefully over the band’s enormous instrumental prowess. They could command a much larger venue, and I look forward to the day they hypnotize venues of 500+ audiences hanging on every note.
Which brings me back to this notion of the juxtaposition. Adult Fur and Theodore are two completely different acts: one deserving of space at The Pulitzer to provide the soundtrack for the night, and the other inching toward the marquee of The Pageant. Separately they are wonderful. Together, they fell flat.
If you’re interested in checking more from Justin Kinkel-Schuster, see him in Phantom Limb at the Billiken Club tomorrow, October 15th, opening for The Felice Brothers and Gill Landry of Old Crow Medicine Show. Eleven contributor Jarred Gastreich has put together a Show-Me Show of Phantom Limb, here:
Phantom Limb – $100 (A Show Me Show) from Jarred Gastreich on Vimeo.
This entry was written by , posted on October 14, 2011 at 4:41 pm, filed under Live, Photo Gallery, Review and tagged adult fur, Crack Fox, review, Theodore. Leave a comment or view the discussion at the permalink.
Review: Dots Not Feathers, Levi Weaver, and Aaron Long at Off Broadway, 10/05/11
After five years, I was very excited to see that Off Broadway had booked Levi Weaver to return to St. Louis. The show was listed as Dots Not Feathers headlining, which also excited me. (Although I had seen them play once before, my positioning in the crowd made it difficult to get a real sense of their presence.) And the other support was Aaron Long.
Aaron Long walked on stage for his set by himself. The crowd was not very strong yet and it was a little awkward at first. However, his music brought us all to silence. There was magnetism in his vocals that hypnotized the audience, but what really caught my attention were his lyrics. It’s generally hard to concentrate on lyrics throughout an unfamiliar artist’s set but not this time. Every word resonated in my head and made the strangers surrounding me feel more like a community, than foreign faces. “Streetlight Prophecies” made me want to grab a cup of coffee and pick Long’s brain on his life experiences and recoveries. Suddenly, his lyrics were writing my resolution to even the tiniest problems. Levi Weaver grabbed a couple drumsticks and snuck on stage beating out a rhythm that flowed perfectly into the acoustic guitar strumming.
Participation in Long’s set was the perfect transition into Levi Weaver’s set. It is not very often that I get giddy and antsy waiting for an artist to perform, but I was visibly shaking as Weaver wandered onto stage. Weaver had the entire audience locked in on every chord change from the instant he strummed his first. Researching his blog like the fan I am, I noticed that a pet peeve of his is when artists fill their song transition time with phrases like “This next song…” so I was paying close attention to his transition time and statements. And I definitely noticed that without the abrupt “cliché” transitions, everything flowed very smoothly. Weaver’s entire set felt more like a conversation with a close friend, where their story is so intriguing that you can’t wait for the next word (or note, in this case). And his wonderful voice is a soothing mix of raspy and flowing. The first time I witnessed Weaver’s talents, it was when he opened for Imogen Heap in 2006 (more about that in the interview following), and it was the first time I had seen someone dominate a loop pedal. Specifically, his grace and subtlety in integrating it into a Radiohead cover of Idioteque. And yet, this time, as if it was entirely unexpected, his ability to track each loop under the pressure of an audience blew my mind.
Levi Weaver- The Letters of Dr. Kurt Gödel
Next up was Dots Not Feathers. I must say, I was a bit confused by the full-band finale, but I was not disappointed. If I had not known better, I would have sworn the band was a super group. Each band member is obviously a respected, vital piece in the mix. Everything from the multiple vocalists, to the banjo, to the harmonica, to the keys expressed fine technique. This was clearly a group of mature musicians who wanted the audience to enjoy music as much as they did. Their energy was unimaginably contagious and even when I tried to stand stationary; I found that it was impossible. The vibrato and clean harmonizing in the vocals complimented the technical instrumentals perfectly. There were a few instances where it felt like the drums and female vocals were a bit overpowering, but besides that, they were a very fitting conclusion to the beautiful songs that previewed them. Be sure to check them out at The Firebird on November 4, opening for Elsinore and Someone Still Loves You, Boris Yeltsin.
Realistically, this concert rejuvenated my passion for music, both local and national. I heard my all-time favorite Radiohead cover, found a new “favorite” in Aaron Long, and a new respect for local musicians, Dots Not Feathers. And all the while, I was witnessing it with a group of varying ages that came together to enjoy solid talent reflected thru two Nashvillians (as Long referred to them) and five local, passionate musicians.
Interview with Levi Weaver:
11: The first time we saw you was at the Imogen Heap tour in 2006. Was that your first national tour?
Levi Weaver: It was… Usually you have to work your way up to something like that and kill yourself for 10 years doing stuff like this. But then you get the big break & then that happens. But for me, it was quite the opposite. Like, I had been doing my own thing for about a year. And in 2006, I won a Myspace contest to open for her in Birmingham, England, which is where I lived. And she really liked it and asked me to come on tour with her and play guitar for her during her set, and I got to open for her doing my own… I didn’t know what I was doing and I totally mismanaged it from a music business standpoint, and kind of killed the momentum that I had… I wish I had known then what I know now.
11: I thought your “Art Series” was a great way to get connected to your fans. Was that the original purpose?
LW: It was. Some of it to connect with fans and some of it to just promote some artists that I like. I thought it would be cool because it’s a concept album, anyway… I tried not to let them hear the whole album. I only wanted them to listen to that one song. Because a lot of times, what I think happens is in a concept album, people get so sold out to the idea of a concept that the songs suffer because they’re like “no, this has to connect into the concept.” And the songs don’t stand-alone once you hear the whole album. I can appreciate that but I wanted each of the songs, with the exception of the 4 narratives, to stand-alone. So, I said, “I want this song to be it’s own thing. Can you do a piece of art for this song?” And then people would ask me “Well what are the other artists doing?” “No, you do what this song inspires. Don’t worry about what the other people are doing.” And I got some pretty cool stuff. I was excited about how it turned out and it was good for me to keep that in the back of my mind. Like, “don’t let it be such a concept album”- because sometimes people just like a song. And they just want to hear that song and they don’t care about the concept album. I wish they did, but you have to recognize that they won’t always.
11: And how many tours have you been on since the first with Imogen in 2006?
LW: This will be the ninth in 5 years.
11: I noticed that you struggle with being told that you’re “talented,” whenever you see what “talent” is viewed as by the general public. I was wondering if you have any advice for other artists that struggle with similar ideas?
LW: Not yet. I’m still working through it. You see people –I’m not gonna name names because I don’t want to be rude- but you see people that are… you just that someone would “Simon Cowell” them a little bit. You don’t have to be rude about it but someone needs to tell them “this is not what you’re cut out to do.” Some of those people are so sincere and such hard workers and you wish that they were good because they’re likeable people. And then, at the end of the night, all their friends come up and either their friends don’t know what is good or they’re just being nice.
And then at the end of the night, it makes it really difficult for me to feel that when I get a compliment. “Am I diluting myself and putting my family at risk by going on the road and doing this when maybe I should be doing something else? Maybe I’m that guy that everyone else that plays with is going ‘geez, such a hard worker but he needs to move on.’” Get back to me on that in a year or two and hopefully, I will have found something out.
11: Is your toddler son receiving and grasping the idea of you being gone on tour?
LW: I think so. On that “welcome home, daddy,” sign that he made for me, (photos on his blog) there was all these sort of…things. And what they had done was made a chain out of construction paper and each link had the name of the city I was in that night. So every night, Heather (his wife) would take the link off and be like “okay, today daddy’s in Charlotte, NC,” and point to it on a map and show him where it is. So he maybe will kind of act out a little bit for the first few days that I’m gone and so that’s really maybe the most difficult for me. Because not only is my wife at home taking care of him but he’s also misbehaving more when I’m away.
11: If there is one person, dead or alive, that could be in an audience that you play for, who would it be?
LW: Oh my gosh, that’s tough because a lot of great musicians- I would be so intimidated. I don’t know that I would necessarily want to play for them. There are guys that I would want to play with in hopes that they would take me on tour, I guess. As far as who would be the best audience, (long pause) let’s go with King David from the Bible. I think that would be interesting because he was like…he was definitely an artist. He was a warrior but all the poems and stuff that he wrote, he had the artist mentality of when something went wrong, “evvverythingggg is wrong! The whole world is against me and God has forgotten my name.” I hope there’d be a translator so we could speak to each other about art and music and about writing lyrics. I mean…he wrote Psalms. That seems like such a Bible answer to give but of all the people in history- I wouldn’t want to play for Beethoven or Bach- “No thank you, you play, I’ll sit.”
11: What went on with the venue you were battling over to keep open?
LW: It’s the Riglea Theater. The way it started was that my wife and I were married in that theater so we went home last summer and saw that Bank of America had it under contract to buy and they were gonna tear it down and leave up the façade and build a bank. So I said (to his wife) ‘yeah, we should get some investors and maybe see if we can keep it open.’ And she said ‘yeah, that’d be really fun- we should try it.’ So we kind of just jumped in with both feet. The more we worked, the more we thought that people really thought it was a great idea. But, we couldn’t just buy it. It was almost like walking into an old west town and there’s this Mexican drug lord that’s terrorizing the city. And somebody goes “Somebody should just shoot that guy” and the entire city goes, “yeah, he’s gonna shoot that guy!” All right, here we go. And so we kind of jumped into it. And it all culminated with me standing in front of the city council in Fort Worth, telling them we’ve got a business plan. If the Bank of America backs out, we’ve got the investors to do this. There was a lot of smear campaigns that went on- “this is all just a big publicity stunt for his music” so I just went. I shut down my website and said, “I’m on a hiatus, Sorry. What’d ya got now?” They’re like “Well, he’s not from here- he’s from Nashville. He just wants to swoop in. He’s one of those heavy metal kids (it was originally open as a metal venue). “ So I was like “Actually, my dad is a cowboy. I still have my Texas driver’s license. My father-in-law works right down the street. My wife graduated from Southwest High School. And I went to Texas Wesleyan University. I grew up listening to Johnny Cash and Willy Nelson. Next…” Meanwhile, If I have doubts about music and I work my butt off at that, you better believe I had some doubts about if I could actually keep a theater open and renovate it and do it. So after I appeared in front of the city Council, Bank of America, the next day, issued a statement (after pouring 100,000$ into it) that they decided it was no longer economically viable for them to pursue it and backed out. And the entire town was happy. But the guys that owned the company were really upset and they viewed me as the reason that their deal with Bank of America had fallen through. Truth be told, anybody could have done that. It wasn’t me; it was an entire city. And so the owners issued a statement that was more or less “yeah, we’ll still sell it but not to that guy (pointing at Weaver).” So, originally, the plan was “Can we keep this from happening?” And it happened…. It’s going to be opening as a music venue. So I can always take my son by and say “ya know, that’s where we were married, and oh, by the way, let me tell you this story about how my life revolved around that for a year.” And in the meantime though, I just let my music career die for a year. So it’s been kind of tough to get it back up off the ground.
This entry was written by , posted on at 3:20 pm, filed under Editorials, Live, Q+A, Review and tagged Aaron Long, Dots Not Feathers, Levi Weaver, Off Broadway. Leave a comment or view the discussion at the permalink.
Preview: Adult Fur and Theodore at the Crack Fox 10/13/2011
It’s Adult Fur’s new ‘Space Music’ video from Civil Ape on Vimeo!
//TONIGHT//
The name “The Crack Fox” should mean two things to you: a freaking hilarious Mighty Boosh sketch and a super cool dive bar on Olive downtown that appears to be fond of the color palette of Satan.
It’s FREE – be there!
This entry was written by , posted on October 13, 2011 at 10:00 am, filed under Live, Upcoming, Video, What's Going On and tagged adult fur, preview, The Crack Fox, Theodore. Leave a comment or view the discussion at the permalink.
Live Review: Wilco at The Peabody Opera House 10/4/11
Wilco played the first non-Gala show at the Peabody last night, and all that can be said is WOW!
Eleven has discussed the Peabody itself at length both in the magazine and here on the website, so I’ll skip saying too much on the venue, except to say it was this reviewer’s first visit to the theater, and it is as awesome as the hype says. The acoustics are perfect, and the restoration is amazing.
Before Wilco even hit the stage, the Peabody welcomed a legend. Nick Lowe, alone with an acoustic guitar, opened the show. “The Jesus Of Cool” showed everyone why he is so beloved by his fans and fellow musicians. Lowe has aged rather gracefully; his brown shaggy hair has turned grey, and he wore a pair of glasses inspired by his close friend and collaborator Elvis Costello. His voice sounded great as he rolled through a short setlist incorporating classics like “Cruel To Be Kind” and “(What’s So Funny About) Peace, Love & Understanding,” with songs from his latest album The Old Magic. Of course, “Peace, Love & Understanding” was made most famous when the aforementioned Costello covered it on his Armed Forces album in 1979, so in return, Lowe covered Costello’s “Alison,” a song that he produced for Costello. Lowe left the stage to great applause, but it would not be for the last time.
As the lights dimmed for Wilco, the stage design, which when not lit looked like someone TP’d the beautiful new venue, came to life. Using color projections, it created an almost psychedelic, Allman Brothers-type light show. It felt perfect for the song selection, which relied heavily on the noise-making, feedback-generating version on Wilco – as opposed the singer-songwriter version. The opening tune was, appropriately, a song that is dedicated to fellow St. Louisan Jane Smiley’s boyfriend. The long, winding number sounded crystal clear in the room. The crowd remained silent and seated to truly appreciate the long key nature of the song. That would be the last time most of the crowd would sit down as Jeff Tweedy led the band through rocking set of both new and old. The new songs from Wilco’s latest The Whole Love were intense and tight. For all the lineup changes that Wilco has gone through, the current band has been together for 8 years now, and it really shows. Listening to the songs live, it is hard to escape the feeling that The Whole Love completes a trilogy that started 10 years ago with Yankee Hotel Foxtrot and continued with 2003’s A Ghost Is Born. Even the songs the band plucked off the last two records, Sky Blue Sky and Wilco (The Album), were the noisier tracks.
Reaching back, Wilco touched on all eight studio albums over the band’s now 17-year career and even further back to Tweedy’s old band that used to play weekly in the basement of the old Cicero’s (now the Duck Room). Uncle Tupelo’s “New Madrid” was warming received by all the old school fans in the crowd. The biggest cheers of the night were saved, as they often are, for the songs from 2000’s seminal Wilco record Yankee Hotel Foxtrot. YHF will always be the touchstone album for many Wilco fans and it was well represented in the setlist. Songs like “Jesus, Etc…”, “I’m The Man Who Loves You,” and I’m Trying To Break Your Heart reminded the concertgoers why. Even the most casual Wilco fans in the crowd could sing along with the band to those and in the encore, when the band played “Heavy Metal Drummer”, cheers erupted for lyrics about heavy metal bands playing “On the Landing in the Summer.”
Before Wilco finished, Jeff welcomed opener Nick Lowe to the stage for two songs. Both songs came from Lowe’s solo debut record The Jesus Of Cool. The first was a cover of the Jim Ford song “36 Inches High,” and the second “I Love My Label” – sang as a duet between Lowe and Tweedy, which Wilco included on the deluxe version of The Whole Love.
Wrapping up, they launched into the St. Louis classic “Casino Queen.” Tweedy talked about the venue and how they are really looking forward to returning. Likewise, St. Louis can’t wait.
10/4/11
Peabody Opera House
St. Louis, MO
Setlist:
One Sunday Morning (Song for Jane Smiley’s Boyfriend)
Poor Places
Art Of Almost
I Might
I Am Trying to Break Your Heart
Bull Black Nova
One Wing
Handshake Drugs
Impossible Germany
Born Alone
A Shot in the Arm
Shouldn’t Be Ashamed
Rising Red Lung
New Madrid
War On War
Standing O
Jesus, Etc.
I’m The Man Who Loves You
Encore:
Via Chicago
Whole Love
36 Inches High (with Nick Lowe)
I Love My Label (with Nick Lowe)
Heavy Metal Drummer
Casino Queen
Outta Mind (Outta Sight)
This entry was written by , posted on October 5, 2011 at 12:23 pm, filed under Live, Review and tagged Nick Lowe, Peabody, Wilco. Leave a comment or view the discussion at the permalink.
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Music, Community, and Culture in St. LouisEleven is your source for everything music related in the St. Louis metropolitan area. We print a free, monthly magazine and keep you updated daily with our website. Come hang out with us and get involved!
