SHOW REVIEW: Andrew Bird in Boulder (Boulder Weekly 6/23/2014)

andrew bird boulder 6-20-2014

SHOW REVIEW:
Andrew Bird at Chautauqua Auditorium, Boulder
Friday, June 20, 2014
by Adam Perry for Boulder Weekly

When I first heard that Kanye West had referred to himself as “the Michael Jordan of music,” I immediately recalled the first time I heard Andrew Bird’s instrumental Useless Creatures album, which introduced me to a genius that really does transcend music. To see Bird playing violin, guitar and xylophone; singing; and whistling is like watching a world-class ballerina, athlete, chess master, etc., at work. And yet even a shred of the kind of classless, shallow egotism that makes West, also notorious for saying “I am Michaelangelo,” so abhorrent is missing from Bird. That sadly antiquated humility made his performance at 116-year-old Chautauqua Auditorium in Boulder this past Friday especially fitting.

The first time I saw Andrew Bird in concert was with my partner, Irene, at the Ogden in Denver, back in 2009; that show was oversold, packed with chatty hipsters and plagued by repeated sound problems. And still, Bird’s exceptional musicianship, and sheer love of playing, came through, making for a special night with the future mother of my child and love of my life. Bird has a way of delivering his poetry and music as if it flows from him as naturally as snowmelt down Boulder Creek, but a rock club isn’t the best fit for him.

The big, beautiful barn (at the feet of the Flatirons) that is Chautauqua Auditorium, however, felt like it was made for an Andrew Bird concert. The 40-year-old Chicago virtuoso, who has released four albums and two EP’s in the past three years, followed a sweet opening set by Tift Merritt with three solo tunes that juxtaposed tasteful, mesmerizing loops with Bird’s strong, clear voice. The highlight of Bird’s solo turn was “Hole in the Ocean Floor,” from 2012’s Break It Yourself; the swirl of playful, neo-classical music and lyrics about “all God’s creatures roaring” brought to mind hikes in Flatirons just feet from Chautauqua.

After telling the sold-out audience of around 1,500 “This is truly one of my all-time places to play music and I’d play hear every year if I could,” Bird brought out his new, old-timey band The Hands of Glory. Featuring standup bass, pedal steel, acoustic guitar and drums, the quartet’s indie-Americana sound, which includes just the right amount of country spunk, and enough stop-on-a-dime classical and jazz credibility to back up Bird, was perfect for such an old-timey venue.

But the group didn’t just focus on tunes from Things Are Really Great Here, Kind Of…, Bird’s new album of Handsome Family covers. Instead, it delved all the way back into Bird’s Bowl of Fire days with “Dear Old Greenland”; unleashed a fitting cover of Townes Van Zandt’s gentle classic “Colorado Girl”; and succeeded into translating eccentric beauties, like “Effigy,“ from Bird’s more art-rock (think Blonde on Blonde meets Amnesiac) periods into a more Americana realm.

The moments when the whole band, save for the drummer, huddled around one microphone to convey tunes was particularly transporting. Especially for listeners sitting on ancient wooden benches in a venue so old you can almost smell the sawdust that once covered the floor back in the days when the likes of John Philip Sousa was on stage.

Let’s hope Bird does keep playing Chautauqua every year. After Friday, I’ll also hope I happen upon a friend with homemade pre-show apple pie on the grass outside the Auditorium every year.

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