I hadn’t intended to review Mountain Stage’s July 18th FestivALL concert at The Clay Center here since I covered it for another publication, but Kate Miller-Heidke’s performance was too magnificent to keep to myself and I can share more details here since Muruch has no word count.
Kate was not only of the more interesting acts to have appeared on Mountain Stage, but she also possessed one of the loveliest voices I’ve ever had the pleasure to hear at the venue.
Considering the avante-pop theatrics of her latest release Curiouser (click for my album review), the stripped down acoustic set could’ve been a big disappointment. But Kate’s spectacular, rafter-scraping vocals and bubbly charm provided plenty of entertainment.
I can attest that Kate’s voice required no effects on the recording to reach those surreal high notes. Her vocal flights of fancy were even more astonishing and gravity-defying in person than on the album. And she was cute and graceful even when she flubbed a line and had to restart “Politics in Space.”
Her humorous piano rendition of “Facebook Song” was a big hit with the audience, but will definitely require some editing before the radio broadcast – if it makes it on the air at all.
I didn’t catch the title of the last song Kate performed, but her final series of operatic trills left the entire audience in awe and earned her a standing ovation.I suspect I’m not the only audience member who wished she’d been granted the special extended one-hour set instead of Marc Cohn.
Israeli artist David Broza was a last minute replacement for Aboriginal singer Gurrumul, whose U.S. tour was canceled last week due to “unforeseen circumstances.” Broza’s intricate, often frenzied guitar work blends folk, blues, and Latin rhythms. For his latest release Night Dawn, Broza set unpublished poems by Townes Van Zandt to music.
Other than a very dull set by Sahara Smith (someone should tell these country starlets that miniskirts won’t mask bland vocals on the radio!), the rest of the acts were also solid and enjoyable. But for me, Kate’s shadow didn’t let go of the stage until Marc Cohn walked out.
This was the second time I’ve seen Marc Cohn at Mountain Stage, the first was two years ago shortly after the release of his post-traumatic masterpiece Join the Parade. His 2008 performance was much more powerful due to the emotional content and events surrounding the songs on Join the Parade, but this time his demeanor and the general mood of his set was lighthearted and fun.
Before his set began, Cohn’s roadies packed the stage with white towels and glasses of what appeared to be wine…to which host Larry Groce quipped: “I don’t know what it is, but it ain’t clear, so it wasn’t made around here.” And after explaining the use of a prerecorded drum track (a rare occurrence on the live radio show), Cohn jokingly threatened to mimic Pink’s wet acrobatic act as he became progressively more “contemporary” throughout the night.
Cohn’s new release Listening Booth: 1970 pays tribute to his favorite songs that were originally released in 1970. The album features covers of classic songs by Paul McCartney, John Lennon, Cat Stevens, Van Morrison, Creedence Clearwater Revival, Smokey Robinson, Joe Cocker, Simon & Garfunkel and Eric Clapton.
Unfortunately, an early deadline elsewhere forced me to leave before the end of the show, so I missed the group finale. But what I saw of Cohn’s set was a superb end to the evening. Highlights were his bluesy rendering of Joe Cocker’s version of “The Letter” from the new album, “The Calling” from Join The Parade, and “Silver Thunderbird” from Cohn’s self-titled debut.
I managed to take a few shots during the concert, but they didn’t turn out as well as I’d hoped due to the angle of my seat. Still, you can get an idea…