Ben Folds

Ben Folds and a Piano
March 26, 9:30 Club, Washington, D.C.

Ben Folds unleashed his melodious rage on his grand piano before an oversold-out crowd at the 9:30 Club on Friday. His two hour-plus set rolled through a few Ben Folds Five oldies such as “Kate,” “Army,” and “Evaporated” but the bulk of the set focused on his solo career, launched in 2001 with the album, Rockin’ the Suburbs.

Folds is famous for his angst-laden lyrics and more than a smattering of profanity, the bulk of which came during the last song, a Dr. Dre cover that he performed with an amusing guy picked from the audience. The crowd was filled with die-hard fans gleefully singing along, and not only when prompted.

An old-school Folds fan, I was a little disappointed that he skipped over his first Ben Folds Five album, particularly after spotting a setlist from his Norfolk show a week earlier in which he played both "Philosophy" and "Best Imitation of Myself." That said, the show was excellent: high-energy, quirky, and great fun, as one always expects at a Folds show. And, solo with a piano, it was as intimate as a show can be.

Opener Zach Williams had a gorgeous, powerful voice as he sang several originals from his debut album Story Time. He also threw in an outstanding Patty Griffin cover, “When It Don’t Come Easy,” though most of the crowd had no idea who she is, and that’s a shame.

Ben Folds Setlist:

1. Free Coffee
2. Annie Waits
3. Sentimental Guy
4. Eddie Walker*
5. Effington
6. Jesusland
7. All U Can Eat
8. Gone
9. Levi Johnston's Blues
10. Picture Window
11. You Don't Know Me
12. Kate*
13. Bastard
14. The Secret Life of Morgan Davis
15. Still Fighting It
16. Dr. Yang
17. Landed
18. Zak and Sara
19. Emaline*
20. There's Always Someone Cooler Than You
21. Lullaby
22. Hiroshima
23. Army*
24. Evaporated*
25. The Ascent of Stan
26. Not the Same

Encore:

27. Narcolepsy
28. Bitches Ain't Shit (Dr. Dre cover)
    
    

* Ben Folds Five songs

Oh Henry! Gospel to my Ears

Henry Butler

March 18, Madam’s Organ, Washington

Recommended beverage: Bourbon & Coke, for $4.75!

His hands just fly over the keys, his heart pouring out in every note. The spirit of the late Professor Longhair is in the room; the spirit of New Orleans envelops him.

Playing solo at Madam’s Organ for a fundraiser to support the New Orleans Jazz and Heritage Foundation, which supports culture, education, and economic development around New Orleans, Henry Butler pounded the keys as he shifted among styles: blues, jazz, gospel, and funk among them. The foundation could not have picked a more worthy musician for this event, as Butler has played every New Orleans Jazz Fest since its inception in 1970.

“Raise your hands for me if you’re planning to come to Jazz Fest this year,” joked Butler, blind since birth. He opened the first set with a tribute to James Booker and then launched into an array of originals and covers, including Otis Redding’s “Dock of the Bay” and a gorgeous “Old Man River,” both of which are on his latest disc, Pianola Live. The disc is an 11-song collection of his solo work, some recorded in recent years, others decades ago. Fortunately, when his Ninth Ward house was taken by Hurricane Katrina, he salvaged most of his tapes and recordings.

Butler performed six songs from that disc, including his original instrumental, “Orleans Inspiration,” which spans a range of New Orleans musical styles. Instead of playing Allen Touissaint’s “Mother in Law,” from this disc, he chose to cover what is perhaps Touissaint’s most widely recognized song, “Working in a Coal Mine,” performed with Butler’s bluesy spin.

And no Butler show is complete without at least one Professor Longhair song. He played two: “Tipitina” and the infections “Mardi Gras in New Orleans.”

Butler’s music overflows with soul and I found myself not alone in dancing through my tears. It was a spectacular night of music and those attending helped support an urgent cause, as New Orleans continues the arduous process of rebuilding and protecting its heritage.

All That Jazz: Jamie Cullum Embarks on U.S. Tour

Jamie Cullum

Town Hall, New York, March 4

Celebrating the U.S. release of his latest album, The Pursuit, [which ClubD has had for a couple of months now; thank you, amazon.UK) Jamie Cullum opened his U.S. tour in New York. Much of the set featured songs from this album, which many critics are calling his best to date.

The Pursuit, like his two other studio albums, offers a mix of classic jazz covers, such as Cole Porter’s “Just One of Those Things,” and plenty of jazzy originals such as the single, “Wheels.” The 29-year-old jazzy Brit is so talented, one almost forgets where the covers end and the originals begin.

Full of energy and in top vocal form, Cullum put on a fantastic show. One highlight, and a testament to his originality, was his version of “These are the Days” from his first album, Twentysomething. Playing on the Hammond organ, he became infused with the spirit of Ray Charles and began singing “I Got a Woman,” then ended the song with a gospel chant, with the audience singing and clapping, “I feel fine.”

Part of Cullum’s charm, apart from being cheek-pinching adorable, is how well he connects with the audience. He was so in tune with his audience that, at one point, mid-song, without missing a beat, he said “bless you” to an audience member who had sneezed.

He’s chatty, yet unscripted, and utterly genuine. And it’s apparent he seeks your approval. Looking slightly wounded, he said he’d picked up a copy of Time Out-New York to see if the show was advertised. Instead, he found a writer had called him, “a little bit like the annoying aspects of Harry Connick, Jr. and Billy Joel.” The audience groaned in protest but Cullum good-naturedly said he was honored for the comparison, that his music is heavily influenced by both artists. He also cited his respect for Ben Folds, to audience applause.

Truth be told, the only thing Cullum has in common with Billy Joel is that both play piano. Calling Cullum a British Harry Connick, however, is certainly valid. He played “Do You Know What it Means to Miss New Orleans” in tribute to Connick, who covered the classic back in 1988, recording it with Dr. John.

Another magical moment at this show was Cullum’s descent into the audience with his band for an acoustic “Cry Me a River.” I was already crying myself a river from his lovely solo performance of Gran Torino so was near hysterics by this point. He then closed with a two-song encore from Twentysomething, including the outstanding Hendrix cover, “Wind Cries Mary.”

Opening act Imelda May from Dublin played some funky bluesy rock that complemented the show perfectly.

Jamie’s Set List:

Don’t Stop the Music
Just One of Those Things
Photograph
If I Ruled the World
Wheels
These are the Days
Do You Know What it Means to Miss New Orleans?
Love Ain’t Gonna Let You Down
I’m All Over It
You And Me Are Gone
Gran Torino (solo)
Cry Me A River (In Audience)
All at Sea
Wind Cries Mary

Muse Puts on Musically, Visually Stunning Show

Muse
Patriot Center, March 1