Wilco

Chicago Vic Theatre

15th to 20th February 2008

 

If variety is for philanderers, Wilco fans are a monogamous bunch.  For five nights over six days in Chicago, a line of Wilco fanatics averaging approximately six square inches of visible skin (and I’m including eyes) huddled in formation for hours in freezing temperatures and howling winds outside The Riviera Theatre’s rough exterior.  Visible from the red line el train, the winding line awaiting the nightly onslaught of Chicago’s favorite 2008 Grammy losers became as predictable between February 15-20 in the Windy City as deep dish pizza and Cubs vs. Sox arguments. 

Although the set lists contained numerous repeats from night to night, and the Residency shows featured "An Evening with Wilco", meaning no opening act – the faithful diehards who attended every night found variety and excitement within their faithful ritual due to Wilco’s ambitious promise:  the band would play every song in its studio-recorded six album history (81 songs from six studio albums). 

Skip to day-by-day reviews:

Friday | Saturday | Monday | Tuesday | Wednesday | Conclusion

That history began in 1995 when Jeff Tweedy’s childhood friend and bandmate Jay Faraar disbanded alt-country pioneers Uncle Tupelo and broke Tweedy’s heart in the process.  Although Farrar’s gift for song writing and one-in-a-million voice were the safe bet, three members of Uncle Tupelo and manager Tony Margherita followed the undeveloped potential of Tweedy who hastily formed Wilco.  Only weeks later Wilco cranked out its seminal album, A.M. which, like its mastermind, shared promise with an equal portion of disappointment.

The rest of Wilco’s bruising rise to its current status and lineup is well-documented, but here’s a brushstroke history for any newcomers.  Casualties and new acquisitions within the Wilco roster came and went throughout the last 13 years, and the "center of the circle" went to rehab in 2004.  In the mean time, the unpolished alt-country potential of A.M. was replaced by audacious sophomore album Being There.  The sprawling double-disc introduced the world to Wilco’s ability to mend Tweedy’s burgeoning song-writing talents and astute pop sensibilities, with the band’s organic ability to create parts that didn’t just accompany, but elevate. 

With Summerteeth, Wilco draped the album in irony by combining tragically dark lyrics with infectiously uplifting pop music that would make Brian Wilson smile.  Sandwiching Summerteeth in chronology were the Mermaid Avenue albums where Wilco collaborated with Billy Bragg by making music for folk legend Woody Guthrie’s unpublished lyrics.  The challenge of creating music to coalesce with the posthumous words of one of the greatest lyricists of all time produced some of Wilco’s finest moments. 

Next up was the album Tweedy referred to onstage during one of the Residency shows as "the first album any of you bought", the brazenly experimental Yankee Hotel Foxtrot.  After a notorious battle with their label, Reprise Records, (see Sam Jones documentary I Am Trying To Break Your Heart and Gret Kot’s book Learning How to Die) Wilco streamed Yankee Hotel Foxtrot and its deconstructed noise pop for free on their website.  The album was eventually released and elevated the band to new heights of musicianship and popularity.  The Grammy-winning A Ghost is Born marked the only example of Wilco not abandoning the sound of the last record.  Next, the band released Kicking Television, a double-disc live album that finally captured the intensity of a Wilco live show on disc.  Sky Blue Sky abandoned the dramatic experimentation of Yankee Hotel Foxtrot and A Ghost is Born with its light concoction of guitar interplay and breezy tunes.

While still the critical darlings of indie rock, Wilco has made serious threats at mainstream relevance in recent years.  National television appearances, consistent sold out shows, and notorious Volkswagen commercials have changed what it means to be a Wilco fan.  Survey the frostbitten line outside the Riviera last week, and you’re bound to get a range of opinion.

After the Residency shows, however, one thing cannot be denied: with six former members in their rear view mirror, the revolving door of Wilco has been stopped, and the current six-man lineup (Jeff Tweedy: lead vocals and guitar, John Stirratt: bass, Glen Kotche: drummer, Mikeal Jorgensen: keyboards, Nels Cline: guitar, and Pat Sansone: mutli-instrumentalist) has joined an elite club of live rock bands that boasts very few members. 

Friday – February 15th:  "All my maps have been overthrown"

Not a Chicago native, I had never seen a show at The Riviera before.  Already known for its kindness to fans, I realized just how truly generous the band was upon grabbing a second row spot the first night of these general admission shows.  "The Riv" is truly an intimate venue (capacity around 2,500).  Given that Wilco is a Chicago band and the lightening speed at which the Residency shows sold out; Wilco could have sold out five nights at a Chicago venue exponentially larger (and at a higher price than $35 a night), but chose not too.  Although in dire need of a paint job, I was immediately smitten by the intimate, old-school appeal of the Riv – just a block away from the Green Mill where Charlie Chaplin and Al Capone used to grab cocktails. 

On the first night most fans had a map for how they envisioned the setlists at the Residency shows taking form.  The consensus seemed to be that Wilco would opt for few if any repeats and shorter shows.  Those maps were about to be overthrown.

By the start of the first encore on Friday night I began to wonder if a five-night Residency concertgoer can get too much of a good thing.  By the second encore I was sure the band had overdosed on many of my favorite tunes.  After hearing standby live favorites ('Shot in the Arm', 'I Am Trying to Break Your Heart', 'Kidsmoke', 'Misunderstood') mixed with rare rockers ('ELT', 'Too Far Apart', 'Can’t Stand It', 'Candyfloss'), along with a steady diet of Sky Blue Sky – I was ready to sell my Tuesday and Wednesday tickets if there were no repeats from night to night.  In short:  I was concerned this was too good of a show.  I had anticipated the band would romance the crowd over five nights, saving the climax for the last night or two. 

After 31 wham-bam-thank-you-ma’m songs with little filler – I was sure Wilco wouldn’t call the next night like they promised.  I felt used. 

Highlight:
'Candyfloss' – This poptastic Beach Boys wannabe got a live makeover.  What do you get when you combine a toothache melody with a razor-sharp guitar riff?  Outkast said it best: "drip-drip-drop there goes an eargasm". 

Lowlight:
'What’s The World Got In Store?' - I wasn’t disappointed with this inconsequential Being There track for long – the roses bloomed again on the next song with Cline on lap steel and Tweedy on 12-string acoustic.

Best Series:
'Too Far Apart' > 'Can’t Stand It' > 'Sunken Treasure' > 'Spiders (Kidsmoke)' > 'Misunderstood' 
Wilco reinforced their striking ability to transform mediocre album tracks into live legends with 'Too Far Apart'.  This simplistic A.M. track benefited from Cline’s unbending adeptness at tackling older Wilco material far beneath his creative abilities.  However, the song benefited most from Tweedy’s vocals.  His voice has evolved considerably over the years, and if you listen to the studio recording compared to the live version, Tweedy sings it live one to two octaves higher.  He joked that this was his American Idol audition.  He passed.  With a harder edge that its studio counterpart, the hook in the chorus of 'Too Far' resonated like never before.  

Equally poptastic was the built-for-radio 'Can’t Stand It'.  'Sunken Treasure' provided the perfect atmosphere to lead into my favorite live Wilco tune 'Kidsmoke'.  The crowd rode that mesmerizing roller coaster to the end of the first set (aided by a blinding light show).  Upon hearing Kotche’s syncopated drum intro to ‘Misunderstood’ – my concerns about the aforementioned one night stand began.  When Tweedy screamed "Nothing!" on repeat at the end of 'Misunderstood', everyone in the crowd compared their tally of just how many “nothings” we recieved.  The consensus seemed to be somewhere around 18 to 20. 

Worst Series: 
'Why Would You Wanna Live' > 'Impossible Germany' > 'Sky Blue Sky' > 'Please Be Patient With Me'
Don’t get me wrong, I’m no 'Impossible Germany' hater.  It's just that I like my Nels Cline guitar hero moments sandwiched between rockers, not lullabies.  The energy surrounding 'Impossible Germany' tends to define its crowd reception.  Here, with the rare 'Why Would You Wanna Live' and the understated 'Sky Blue Sky' as bookshelves for 'Impossible Germany' – by the end of this series the crowd was patronizing Tweedy’s request in the title of the last song in this run. 

Most Valuable Player:
Nels Cline – Let’s be clear: Cline and Kotche are so talented and energetic they could be co-MVP’s every night.  Cline gets the nod tonight not just for his typically frantic freak-out and note perfect performances on standbys like 'Shot in the Arm', 'At Least That’s What You Said', 'Impossible Germany', 'Side with the Seeds', but also his updated interpretation of many older songs.  His post-concert accessibility didn’t hurt his MVP candidacy either.  After the show, he and Jorgensen were gracious enough to chat up my friends and I at a nearby pub.  Cline and I had met previously, and he was even kind enough to pretend to remember.  Always sociable with fans, Cline settled the ‘to repeat, or not to repeat’ question, assuring me there were many nights of long energetic shows ahead.  When we parted company, he left my wife blushing with a hug and a kiss (just her hand, she laments).  Before the bar closed, my friends and I caught Cline doing air drums to Led Zeppelin’s 'Ramble On'. 

Honorable Mention:  The Total Pro’s horn section (jokingly pronounced by Tweedy in a comically thick Chicago accent) added layers to many numbers.

Setlist:
'ELT'
'Shot in the Arm'
'Side with the Seeds'
'You are my Face'
'I am Trying to Break Your Heart'
'Pot Kettle Black'
'At Least that's What You Said'
'What's the World Got in Store'
'When the Roses Bloom Again'
'Airline to Heaven'
'Ashes of American Flags'
'Either Way'
'Jesus Etc'
'Too Far Apart'
'Can't Stand It'
'Sunken Treasure'
'Spiders (Kidsmoke)'

-break-
'Misunderstood'
'Far, Far Away'
'Why Would you Wanna Live'
'Impossible Germany'
'Sky Blue Sky'
'Please be Patient with Me'
'Cars Can't Escape'
'Hummingbird'

-encore-
'Hate it Here'
'Walken'
'I'm the Man who Loves You'
'Heavy Metal Drummer'
'Candyfloss'
'Outtamind (Outtasite)'

 

---

 

Saturday – February 16th:  "I left you behind – I know it's been a long time"   

With Sunday night off, Saturday night was party night.  After Friday night’s killer set, my friends and I geared up for Saturday by reminding ourselves there were plenty of rockers from Being There left untouched.  We had no idea.  

I was genuinely baffled as to how Wilco would match Friday night’s performance.  The answer:  Saturday night was old rocker night, as Cline busted out the red pants and the band brought out a heavy dose of Being There and A.M.  Throw in a true encore for good measure, and I vowed not to doubt the band further.  Tweedy explained there would be repeats because, after all, they still "have to put on a show every night".

My group was delighted to discover Wilco shared our newfound infatuation with 'Too Far Apart', as it made its second appearance in two nights (and a third on Tuesday night).  For the opener, Tweedy came out and began the Johnny Cash influenced 'Someone Else’s Song' alone, with the other five band members walking out one at a time and joining in.   My friends and I met Jorgensen out again Saturday night.  He said covering the old material was "really interesting, because you never know what will happen".

Acclaimed violinist Andrew Bird joined the band Saturday, but got off to a rocky start.  Bird came out for ‘Jesus etc.’ and meandered around the stage looking for something during the song.  A clearly distracted Tweedy watched him the entire time.  Bird eventually found what he was looking for – but his violin sound was too low in the mix to have a real impact (a problem remedied on future nights).  Then Bird missed the first verse of ‘Passenger Side,’ to which Tweedy commented, “he must be napping.”

A potentially new Wilco tradition was born on Saturday night.  After the band concluded a robust 30-song set with 'The Lonely 1', Tweedy told the crowd goodnight – and he meant it.  The house lights came on, the backdrop raised, and the roadies began to take down Kotche’s drum set and the dozens of guitars.  The house music came on – the humorously catchy 'Peaches' by The Presidents of the United States of America.  The band was finished – no doubt about it – but the crowd wasn’t.  The Riv’s packed house simply refused to leave, screaming, clapping, and chanting the chorus to ‘Peaches’ at the top of their lungs.  The only fan sure of the outcome appeared to be Tweedy’s wife, Sue, as she whistled and clapped for more.  Instead of the "Jeff Tweedy has left the building" announcement I was expecting, the determined crowd was rewarded with the bittersweet 'ELT' and Guthrie’s 'Hoodoo Voodoo'. 

Although the setlists discovered after the show confirmed we had witnessed a true encore, the stumbling false start in 'Hoodoo Voodoo' told the crowd all they needed to know.  After Tweedy stopped the song ("Stop.  Something doesn’t sound right"), the band ripped back into the second verse before Cline faced off against Sansone with dueling solos.  It was a thrilling mess and another number I could check off my list of favorite Wilco tunes to hear live.

Highlight:
'It’s Just That Simple' – Not only the highlight of Saturday night; this may have been the number one highlight of the five night stand.  During this A.M. ballad, die-hard Wilco fans were struck not by the country crooning as much as the unspoken inter-band dynamics.  The only remaining founding member of Wilco other than Tweedy, bassist John Stirratt sings lead vocals on 'Simple' – a rare site at a Wilco show.  At the band’s inception, Tweedy intended to give Stirratt a substantial role in the song writing and vocals – the kind of role Tweedy had in Uncle Tupelo.  It never happened.  'Simple' remains Stirratt’s only Wilco song that he wrote or sings lead on, and between 1995 and 2007 – it had never been played live by the band.  But on February 16, 2008, Tweedy grabbed his old bass from his Tupelo days and Stirratt grabbed the spotlight. 

The performance was as flawless as the ovation endless.  The crowd simply refused to stop cheering, but when they finally did, Tweedy looked over at his most loyal musical partner.  Maybe he realized that although Wilco is now full of brilliant multi-instrumentalist members, Stirratt remains the most valuable to him.  Not just for his high harmonies, melodic bass lines, or energetic stage presence – but because without Stirratt, Wilco would be The Jeff Tweedy band.  Maybe Tweedy was realizing that other than himself, Stirratt is the only absolutely indispensable member of the band.  Maybe he realized that he should allow Stirratt more spotlight in the future.  Maybe not.  What Tweedy definitely realized was the magnitude of the moment as he looked over to a visibly emotional Stirratt and said, "John, that was long overdue".  Honorable Mentions:  The true encore and 'Dash 7', an A.M. track that upon completion Tweedy commented, "That doesn't happen very often".  That’s an understatement – ‘Dash’ had never been played live by the band! 

Lowlight:
'The Lonely 1' – For lack of an actual low moment, this gets the pick for lowest of the many high moments.

Best Series:
'Red-Eyed And Blue' > 'I Got You (At The End Of The Century)' > 'A Magazine Called Sunset' > 'Monday' > 'Casino Queen' > 'Kingpin' > 'Passernger Side' > 'Dreamer In My Dreams'
After the doped up beginning verse of 'Red Eyed' a triumphant power chord signaled the beginning of this Being There-heavy, rip-roaring rock fest (with welcomed reprieves via the poppy 'Magazine' and the hungover ‘Passenger’).  By the time 'Dreamer' kicked the barroom piano back into gear for its obligatory last call – the Saturday night Riviera crowd had officially lost its mind.

Worst Series:
Good luck finding one.  All the songs that you wouldn’t think are best suited for a live rock show were interwoven perfectly to offset the power guitar interplay.

Most Valuable Player: 
John Stirratt – for his “long overdue” moment in the spotlight (repeated again on Wednesday night).  Honorable Mention:  The crowd for luring the band back out for a true encore.

Setlist:
'Someone Else's Song'
'Hell Is Chrome'
'Handshake Drugs'
'Muzzle of Bees'
'Via Chicago'
'I Am Trying To Break Your Heart'
'Hotel Arizona'
'Shot In The Arm'
'Impossible Germany'
'Just That Simple'
'When You Wake Up Feeling Old'
'Too Far Apart'
'Hate It Here'
'Jesus, Etc' (w/ Andrew Bird)
'Forget The Flowers' (w/Bird)
'Dash 7' (w/ Andrew Bird)
'Christ For President' (w/Bird)
'Walken' (w/ Horns)
'I'm The Man Who Loves You' (w/ Horns)

-break-
'The Late Greats'
'Heavy Metal Drummer'
'Red Eyed & Blue' -> 'I Got You' (w/Bird)
'Magazine Called Sunset'
'Monday' (w/ Horns)
'Casino Queen'
'Kingpin'
'Passenger Side' (w/ Andrew Bird)
'Dreamer In My Dreams' (w/Bird)
'Lonely One' (w/Bird)

-encore-
'ELT'
'Hoodoo Voodoo'

---

Monday – February 17th:  "Some songs we can't afford to play"   

Still recovering from the weekend shows, Monday night’s rare ballads were the soft pillow I needed to gear up for the rest of the Residency.  Front row seats didn’t hurt either.  On a normal Wilco show, the band may not be able to afford to play some of the hidden gems played Monday night.  But during the Residency – they couldn’t afford not to, and that’s what made these shows truly special. 

Andrew Bird joined the crew once again, and the sound on his violin was elevated – as was the Total Pro’s horn section.  The proper sound emanating from the supporting cast created a lush backdrop missing from the weekend shows.  

After the end of the first encore the crowd couldn’t help but wonder:  is it possible we could be treated to two true encores in a row?  'Peaches' and house lights weren’t fooling anyone tonight, and the band returned for two Summerteeth sweethearts:  'Can’t Stand It' and 'Nothing'severgonnastandinmyway(again)'. 

Highlight:
'Remember the Mountain Bed' – Strong bias here, as this is my favorite Wilco song (…for now anyway).  The gut-wrenching beauty of Guthrie’s lyrics is matched by Wilco’s melodic arrangement.  For me, it doesn’t get any better than front row for 'Mountain Bed'.   Honorable Mention:  The heartfelt 'My Darling', which Wilco hasn’t been played this century, ended the first encore after Tweedy inquired, “how about a lullaby?” 

Lowlight: 
'Kamera' – I love 'Kamera'.  Apparently, the band doesn’t share my feelings because they butchered it live (by “they” I mean Mr. Jeff Tweedy).  Afterward, Tweedy conceded, “I think I forgot how to play that one.” 

Best Series:
'Blue-Eyed Soul' > 'Remember the Mountain Bed' > 'Bob Dylan’s 49th Beard' > 'Hesitating Beauty'
After the rip-roaring Friday and Saturday night sets, the laid back rare beauties that filled Monday’s setlist were a welcomed change of pace.  The understated serenity of 'Blue-Eyed' opened the show and set the tone.  'Mountain Bed' led into Tweedy’s nod to Dylan, 'Bob Dylan’s 49th Beard', and Nora Lee and her 'Hesitating Beauty' continued the good vibes.

Worst Series:
'How to Fight Loneliness' > 'Jesus, etc' > 'Should’ve Been in Love' 
After getting back into a rock n’ roll groove with high octane favorites like 'Shot in the Arm' and 'Handshake Drugs', this run was the sleeper of the night (and the third ‘Jesus etc.’ appearance in as many nights).  It’s all part of the ride though.

Most Valuable Player:
Jeff Tweedy – Although he freely admitted he "forgot how to play" 'Kamera', this was still Tweedy night.  The softer tone of Monday night required Tweedy’s voice to take the spotlight.  His heart-felt inflections on more obscure ballads like 'Say You Miss Me', 'Should’ve Been in Love', and 'Wishful Thinking' saved them from boredom and elevated the majestic 'Mountain Bed', 'Hesitating Beauty', 'She’s a Jar', and 'My Darling' to new heights.  Honorable Mention:  Andrew Bird for his sweet violin play and powerful but melodic whistling on 'Red-Eyed'.  Could Bird be the best whistler in the world?  I do concede that my experience in this category is limited!

Setlist:
'Blue Eyed Soul'
'Remember the Mountain Bed' (w/Andrew Bird)
'Bob Dylan's 49th Beard' (w/Bird)
'Hesitating Beauty' (w/Bird)
'That's Not the Issue' (w/Bird)
'Wishful Thinking'
'You Are My Face'
'Side With The Seeds'
'A Shot In The Arm'
'We're Just Friends'
'Kamera'
'Handshake Drugs'
'How To Fight Loneliness' (w/Bird)
'Jesus, Etc.' (w/Bird)
'Should've Been In Love'
'Pick Up The Change' (w/Bird)
'Theologians'
'Walken' (w/horns)
'I'm The Man Who Loves You' (w/horns)

-break-
'Via Chicago'
'Impossible Germany'
'She's A Jar' (w/Bird)
'Say You Miss Me'
'Box Full Of Letters'
'I'm Always In Love'
'Hate It Here' (w/Bird and horns)
'The Late Greats' (w/Bird and horns)
'Red Eyed & Blue' -> 'I Got You' (w/Bird)
'Monday' (w/horns)
'My Darling'

-encore-
'Can't Stand It' (w/horns)
'Nothingsevergonnastandinmyway(Again)'

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Tuesday – February 19th:  "You CAN(t) hear it on the radio" 

Tweedy’s mind was filled with radio cures Tuesday night as Chicago radio station WXRT broadcast the show live, both on air and online.  Donned again in his cowboy tuxedo, Tweedy lamented the band’s absence from radio, but used the medium to tell his kids listening at home it was bed time. 

Unlike other nights, the bulk of Tuesday’s setlist seemed to lack any discernable theme or rhythm, which was a shame given the expanded audience.  The same could not be said for the opener and intended closer.  'Outta Mind (Outta Sight)' began the show with its Sesame Street bounce.  It’s rocker twin, 'Outtasite (Outta Mind)' closed out the first encore.  Which twin is superior is a long-standing debate in my household – I choose to err on the side of rock. 

With its fourth play in four nights, Wilco was determined to upgrade my status from 'Impossible Germany' appreciator to lover.  Tweedy and Sansone teamed up while Nels spastic licks and ‘O-face’ kept the crowd entranced. 

Once again, 'Peaches' signaled an obligatory and thus possibly disingenuous ‘true encore.’  The band currently being broadcast around the world opted for irony with 'The Late Greats' – "you can’t hear it on the radio / you can’t hear it anywhere you go".

Highlight:
'I’m A Wheel' – Tweedy’s howl near its end set the table for the crowd to feast on live favorite 'Kingpin' (“I don't have to tell you what to do” Tweedy told the Chicago crowd before the standard 'Kingpin' interaction).

Lowlight:
'Shake it Off' – This wreck of a tune is my guaranteed bathroom break any show its played.  Now, tonight I was determined to be officially dismissive of the ubiquitous Shot in the Arm (fourth play in four nights).  I was off to a good start as mentally groaned during the opening keyboard.  Before Jorgensen’s hands could slam across the keyboard I was screaming during the song’s finale: “Somethin’ in my veins, bloodier than blood!”  Foiled again by ‘Shot’ and Mr. Cline.

Best Series:
'Poor Places' > 'Reservations' > 'Spiders (Kidsmoke)' > 'On and On and On'
The epic and gorgeous cousins ‘Poor Places’ and ‘Reservations’ morphed perfectly into one another, and 'Kidsmoke' upped the ante while maintaining the other-worldly mood.  'On and On and On' showcased Tweedy’s vocal range and cemented its place as one of Wilco’s perfect set finales.  Honorable Mention:  'Hotel Arizona' > 'Too Far Apart'  > '(Was I) In Your Dreams' > 'Misunderstood' > 'Someday Soon' > 'California Stars' > 'Hate It Here' > 'The Thanks I Get' > 'Walken' – given its length, this was a consistently satisfying string of sweet tunes.

Worst Series:
'Radio Cure' > 'Leave Me (Like You Found Me)'
I suppose the former was apropos given the radio broadcast, but I wish they would have left the former like they found it – this was the first live play 'Leave Me' has ever received (and possibly its last). 

Most valuable player:
Pat Sansone – While some fans diss hipster Sansone’s rock n’ roll antics, they were a welcomed addition to 'Walken' and 'I’m a Wheel'.  Sansone channeled Pete Townsend as he reined his windmill strokes down onto his howling guitar.  His biggest fan was Tweedy who stared and shook his head throughout. 

Setlist:
'OuttaMind (Outta Site)'
'I Must Be High'
'Impossible Germany'
'Radio Cure'
'Leave Me Like You Found Me'
'Company In My Back'
'Handshake Drugs'
'War On War'
'Shake It Off'
'Summerteeth'
'In A Future Age'
'ELT'
'A Shot In The Arm'
'Poor Places'
'Reservations'
'Spiders (Kidsmoke)'
'On And On And On'

-break-
'Hotel Arizona'
'Too Far Apart'
'Was I In Your Dreams?' (w/horns)
'Misunderstood'
'Someday Soon'
'California Stars'
'Hate It Here' (w/horns)
'The Thanks I Get' (w/horns)
'Walken' (w/horns)
'I'm The Man Who Loves You' (w/horns)
'I'm A Wheel' (w/horns)
'Kingpin'
'OuttaSite (OuttaMind)'

-encore-
'The Late Greats'

 

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Wednesday – February 20th:  "Cause all good things – they gotta go…"

By the fifth day, my normally immune immune-system had failed me.  On the fifth show in six nights I began to truly appreciate the life of a touring musician.  Over the five nights I had waited in line between 90 and 150 minutes.  I was rewarded with great seats and the flu.  However, my dedication was more the median than the bar – fans arrived at The Riv around 7 a.m. with the doors opening at 6 p.m. for the weekday shows.  Some found occasional relief trading spots in line with friends for browsing at Borders or drinking at bars.  Chicago’s finest pitched in by driving by blasting 'I Am Trying To Break Your Heart' from their squad car loudspeaker.  As I froze in line Wednesday, Wilco reinforced their accessible image as Kotche casually walked past me and into the venue.

Wednesday night continued Wilco’s usual tradition of slow tempo beginnings.  The band gradually upped the pace from 'Sunken Trasure', 'One By One', and 'Shouldn’t Be Ashamed', to the back and forth tempos of 'You Are My Face' and 'Side With the Seeds', to the poppy deliciousness of 'Pot Kettle Black', 'War On War', and 'Pieholden Suite'.

With nearly all of the obligatory tracks covered, Tweedy saved his least favorite creation for the last night.  Before the A.M. ballad 'I Thought I Held You', (previously never played in concert) Tweedy instructed the crowd to "Go to the bathroom, put your feet up, get a drink.  This next song we play to fulfill a contractual obligation".  Why Jeff?  "This song is shit", he explained.  Tweedy made clear the lyrics were the source of his distaste.  As he sang, "I'm like a songwriter / You're the reason I've run out / Run out of metaphors…"  Tweedy rolled his eyes and shook his head to the crowd’s amusement.  While I can’t disagree with faulting the trite lyrics, the melody of the song was in my head for days. 

While the energy of Friday and Saturday was impossible to match, the band did the final night of the Residency justice.  The crowed cooed for the rare 'Blood of the Lamb', and Tweedy crooned on 'Hummingbird'.  On the latter, the Riv crowd was treated to Tweedy’s signature “Hummingbird dance.”  He warmed up by (fake) spitting on hands and rubbing his thighs, before his triumphant, but awkward, back-and-forth jig. 

Highlight:
The drone in 'Less Than You Think' – After a quiet folk ballad beginning, this much maligned 15 minute Ghost track uses electronic noises and synthesizers individually created by each band member to create a sonic buzz that only vaguely resembles music.  But like so many of Wilco’s tunes, when 'Less Than' was played as the last song (before the two song encore) of the now legendary Residency shows – the goosebump-inducing energy in the room was palpable.  One by one, each band member left the stage – but the sonic landscape and drone remained.  After this epic ending, the ensuing encore was almost a letdown.  Honorable mention:  'Pieholden Suite' – arguably the most highly anticipated song in the Residency stand (beautiful Beatlesesque Summerteeth track only played four times in Wilco’s history).

Lowlight:
'I'm the Man Who Loves You' – As much as Tweedy would want 'I Thought I Held You' to take this one, 'I’m the Man Who Loves You' went from one of the highlights on Friday to the lowlight of Wednesday.  While hearing Tweedy dedicate this YHF bouncer to his wife every night never got old ("I love you Suzie" to Sue who faithfully held her nightly perch in the private lower balcony), by the fifth night the punch was long gone.

Best Series:
'Hate it Here' > 'The Thanks I Get' > 'Just a Kid' > 'Red-Eyed and Blue' > 'I Got You (At the End of the Century)' > 'Casino Queen' > 'I'm a Wheel' > 'Less than You Think'
What a run to (nearly) end the Residency.  The delightfully bombastic horns of 'Hate It Here' gave way to the sing-a-long 'Thanks I Get', followed by a surprise appearance by SpongeBob SquarePants soundtrack’s 'Just a Kid'.  Light and fun – the whole crowd helped with the na na na’s.  The 'Red-Eyed / I Got You' combo made a welcomed third appearance.  In the most electrifying moment of the five nights, Stirratt climbed atop his bass amp during 'I Got You', lept, and scissor-kicked onto the stage, reminding any fans still seated in the balcony they were in attendance for a rock show.  'I'm a Wheel' and its rhythm and blues energy is tailor-made for live shows, and 'Less Than' followed – you could’ve heard a pin drop in the entranced audience.  

Worst Series:
'I Thought I Held You' > 'What Light' > 'When You Wake Up Feeling Old'
Tweedy’s intro to 'I Thought I Held You' guaranteed more comedy than musical transcendence; I just plain don’t like 'What Light', and while I enjoyed 'When You Wake Up' on Saturday – it wasn’t the kind of enjoyment that merited a repeat. 

Most Valuable Player:
Glen Kotche – I admit part Kotche’s selection here is obligatory because he’s probably one of the best drummers in the world and hasn’t received an MVP nod yet.  But like any night, a solid case can be made to fall in love with the drummer:  the picture he paints on 'Sunken Treasure' and 'Via Chicago', the sweaty but grinning intensity on 'Nothing'severgonnastandinmyway(again)', and the old-school power he brings to 'Casino Queen', 'I’m a Wheel', and 'Dreamer in my Dreams'.

Setlist:
'Sunken Treasure'
'One By One'
'Shouldn't Be Ashamed'
'You Are My Face'
'Side With The Seeds'
'Pot Kettle Black'
'War On War'
'Pieholden Suite' (w/ Bird & horns)
'Muzzle of Bees' (w/ Bird)
'It's Just That Simple'
'Nothingsevergonnastandinmyway (Again)'
'I Thought I Held You'
'What Light' (w/ horns)
'When You Wake Up Feeling Old'
'Summerteeth'
'Jesus, Etc.' (w/ Bird)
'Walken' (w/ horns)
'Hummingbird'

-break-
'Via Chicago'
'Blood Of The Lamb' (w/ Bird & horns)
'Can't Stand It' (w/ Bird & horns)
'Boxful of Letters'
'Heavy Metal Drummer'
'Hate It Here' (w/ Bird & horns)
'The Thanks I Get' (w/ Bird & horns)
'Just A Kid'
'Red Eyed & Blue' -> 'I Got You' (w/ Bird)
'Casino Queen'
'I'm A Wheel'
'Less Than You Think' (13 minute drone w/ Bird)
'I'm The Man Who Loves You' (w/ horns)
'Dreamer in my Dreams'

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Conclusion 

Now, if you’ve read this review all the way through its apparent by now that I’m not an objective journalist – and that I am a big Wilco fan.  Any attempts at objectivity would be an exercise in futility.  The Residency shows were any Wilco fan’s utopia.   From the twang of 'ELT' that kicked off Friday, to the drunken piano and barroom howl of 'Dreamer in My Dreams' that culminated the week – undeniable excitement of varying levels permeated each number, each night.  The monogamous crowd learned a lesson:  if something is good one day, it will likely be good the next.  It doesn’t hurt when you witness an over-achieving band.  The respective song totals for the five nights: 31, 32, 33, 31, and 33. 

For those who missed Residency 2008, fear not.  Rumors of memorializing the event on DVD or CD abound (yes, video cameras were present).  But more importantly, Tweedy referenced a Residency 2009 on more than one occasion.  I rationalized my time and financial commitment by telling myself this was a once-in-a-lifetime event, but I can’t tell you I’m disappointed with a potential Residency return. 

Tweedy’s lyrics, "half of its you, and half is me", took on true meaning, and he conceded the band was "spoiled" by the devoted Riv crowd.  Although Tweedy joked, "this is way better than rehearsing for free", the Residency stand showcased a relevant and elite live band in its own backyard.  A band that also happened to be on fire.  The combination riveting performances and riveted fans produced what I look for most in music: transcendent moments.     And on the seventh day... they rested.

 

 

by Sean O'Brien (with contributions from Brian Wallace and Jake Barrett)

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