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Saturday, Nov 07, 2009
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Beck's high-energy show wows packed stadium
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| Beck's high-energy show wows packed stadium | ||
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by Albert Rodriguez -
SGN A&E Writer Beck August 30 Memorial Stadium Going into last weekend's Beck concert at Bumbershoot, I'd seen him multiple times and had never been disappointed. I was quite giddy because he's an artist that seems to bring out the kid in me, evidenced by my squeezing near the front of Memorial Stadium with people half my age. A girl next to me wrote Beck a list of things she wanted to say to him, if given the opportunity. One of them was not to force his Scientology views on others, even as passionate as he is about them. Another girl decorated her leg with a temporary tattoo that read "Beck," and a guy on my right side had waited in line since 3:45 that afternoon just to be at the front. I had them all beat; as a diehard Beck fan I once took a day off from work when he was in town to hopefully bump into him. I didn't, but I'd later be privileged with a rare chance to meet him in person (three years ago). I was giddy and speechless then, and I was giddy and speechless on Saturday night when the pop maestro strode onstage at 9:15 and opened with his classic "Loser." Cheers turned into a rumble as Beck's fingers glided from what initially sounded like a guitar instrumental into "Loser," the first time I'd ever heard it played as the opening song. Fans are still raving about it days after the show. It definitely set the tone for what would be a high-energy performance and an incredibly fun night. The following song was "Girl," and it was a jumpier version than the original found on 2005's Guero album. "Timebomb" was loud and sorta punkish, while "Gamma Ray" sounded groovy and vintage rock. The marvelous thing about Beck in concert is that he's always creating new methods of playing old favorites, like an electronic and punchy rendition of "Nicotine & Gravy" or a hip-hop take on "Black Tambourine." The latter was performed right after a slick digital-assisted version of "Hell Yes," as Beck strapped a headset on and stood at the foot of the stage with his four-piece band. His very long hair and once-youthful face hidden underneath a large hat and all-black attire, Beck appears to be that middle-aged man and musical poetic figure we eventually knew he'd grow into - but we still wish for that apple-cheeked, sneaker-wearing, California surfer boy to reappear at times. "This is for all the gueros, the guerolitos," Beck said introducing "Que Onda Guero." The song kept its authentic Mexi-pop feel and got everyone singing along, some waving their arms during the chorus. A wonderful surprise and one of two mellow occasions during the concert was a solo acoustic performance of "Lost Cause" from the artist's Sea Change disc. It displayed Beck's deep, intense songwriting chops, which can sometimes be overshadowed by his constant tinkering and musical reinventions. Even though it's a depressing number, "Lost Cause" provided a moment for everyone to catch their breath. "Devil's Haircut" was catchy and riveting, as a giant lit-up screen flashed cherry red images of a bullseye and 45-vinyl spindles. "Chemtrails" and "Modern Guilt" from Beck's latest disc, the latter being the title track, were well received by the jam-packed outdoor stadium at Seattle Center. This was an edgier, more digital, more electrifying, and dancier performance by Beck than his appearance at 2006's Sasquatch Festival. His newest recording, the aforementioned Modern Guilt, seems to signal a rekindled experimental side of Beck that has thankfully been extended to his live act. Beck gave a two-song encore, and what an encore it was! "Where It's At" had the entire pit raising their hands in unison and shouting, "two turnables and a microphone!" and then a ripping version of "E-Pro" got everybody bouncing, similar to a hip hop show. On my way out, I heard a college kid say to his friend, "I'm freaking out, I just saw Beck live!" This was my fifth Beck in-concert experience, and I, too, was totally freaked out. |
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