by John Noyd
Only the second stop on their North American WINK TOGETHER tour, CHAI’s Milwaukee debut couldn’t have been more dazzling. Dressed in silver Lycra ponchos and fluffy pink taffeta, the four-piece pep rally filled the cramped Cactus Club stage busting moves, posing and voguing while strapping on guitars and shuffling between drums and synths. Between crowd-rousing party-funk and swooning bedroom-pop ballads, the band’s non-stop bop never let up for over a dozen songs in the packed hour set.
by John Noyd
Theater. Adding a magnifying glass to life’s conflicted head-trips. A manufactured illusion to infuse a universal feeling, a shared experience with shining lights and added colors.
In choosing Kate Bush as their muse, OHMME and Alex Grelle’s The Full Bush overflows in impressive expressions, presenting a tribute saluting not only Bush’s extraordinary songs but her sensual independence and ever-curious spirit.
Video projections, costume changes, choreographed theatrics, Full Bush revealed a musical mentor inside Bush’s vibrant insights on identity and creativity. Beginning with, “Wow,” the live performance stated its case early. The human spirit can fill rooms, priming the senses and ignite imaginations. Caressing the restless existential, “Big Sky,” “Deeper Understanding,” “Cloudbusting” and. “Running Up That Hill,” the dynamic staging transported Co-Prosperity’s art-gallery space into epic dimensions; visceral, physical drama sparking spectacles exemplified by melodic heights, outstretched limbs and breathless messages.
by John Noyd
Possessing a voice that holds both child-like wonder and secretive meanings, Big Thief’s Adrianne Lenker’s enigmatic presence radiates a disarming charm through honest modesty, timid contradictions and beguiling shyness. Known as a talented lyricist, her solo performance at Madison’s High Noon Saloon highlighted an incredible guitarist whose classical flourishes danced beneath sophisticated folk licks. “Tuning is a big part of my show,” Adrianne offered as a sort of apology to her frequent breaks between songs before she put her acoustic guitar through its paces with sharp finger-picking styles that moved with fluid grace and laser focus.
by Tony Mueller
The Wood Brothers brought their talents back to the beautiful Stoughton Opera House for a very warming performance on a cold November night.
by Michael Sherer
Trombonist Fred Wesley got his big time start playing with James Brown’s group in ‘69, and remained through ‘75. This was a golden era for Brown, but more importantly for Soul and Funk music at large. Wesley’s precise, powerful and tasteful playing and solos have always been a distinguished and recognizable part of the sound of the many artists he’s played with, ranging from Count Basie to Parliament-Funkadelic.
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