Negativland 10/31/25 CCAM at Yale

 Negativland is sad. You might say that would be implied by their name, but that incorrect. For the past 40 years, the ragtag troupe of self-proclaimed “culture jammers” has pushed the boundaries of copywrite law by cutting and pasting the world to reveal their irreverent take on commercialism, Christianity, climate change, and countless other topics that don’t start with “C”. The current lineup has Mark Hosler on bass and electronics and Jon Leidecker on laptop samples. A third member, “TheWeatherman”, a reclusive  likeminded freak, also makes a ghostly appearance which is fitting for Halloween. On this evening, they are joined by the visual artist Sue C. While Mark and Jon handle the sound collage, Sue creates real-time video that is projected on six large screens behind the performers. The CCAM clubhouse is a perfect setting for this wonderful mashup of sound and vision. It appeared Sue had a lightbox, she swirled and slid household objects on the box that were refracted and projected on the six panels. Cardboard TP circles, marbles, feathers, a piece of screen, a glitter-infused iPhone case, were just some of the objects I could discern. She did have some words and images that focused the culture jamming. I learn that Sue is part of the Meow-wolf collective, a loose group of visual artists who perform trippy video installations in galleries and museums. Introduced by CCAM head Ross Wightman, the three perform an hour long collage. Ross says Negativland were a dream score for the excellent CCAM Sound Art Series, and I concur. “Playing” to a full house dotted with pirates and ghouls, the performance ensues. It is largely improvised, but touches on Negativland themes. “Which Side Are You On” and “Christianity is Stupid”  were a few of the “hits” that were interspersed. Towards the end, The Weatherman appears on screen to explain to us how to change the lightbulb in our refrigerator, this somehow involves putting a transistor radio in the freezer and taking a bite out of a Mennen speed stick, don’t ask. Seems the Weatherman doesn’t travel, but is “phoned in” from his Seattle living room. After the performance, the Q and A usually has some gear heads that want to elucidate transformers and transducers et al, but you can tell that Mark and Jon are sad at the current state of the world. The current rapid fire destruction of the US dwarfs the nibble round the edges subversive approach that is the essence of this band. They even implore any budding law students (I guess those not destined for SCOTUS) to talk to them about their take on regulating AI. Negativland has been sued by everyone from U2 to Casey Kasem, and that was the point. It must be jarring for them to see the Wild West of AI blow past their philosophy on copywrite law. These guys don’t perform much but must realize that spreading their irreverent gospel might infect some future culture jammer in the audience. Once again,I was happy to enjoy he ride.

FIM #102 10/25/25 The Shop, Hamden

 Perhaps the strangest double dip of a lifetime, leaving the pop stylings of Sinead O’Connor, I had a six minute drive to a nondescript industrial building on State street to catch the hundred and second gathering of FIM. Free Improvised Music is a series run by bassist Caleb Duval and guitarist Luke Rovinsky. Part showcase for Caleb, Luke, and friends skronkability and part outsider clubhouse, the FIM sometimes acts as a honey trap for likeminded weirdos passing through. On this evening, Houston based sopranino wielder Danny Kamins stops for the middle set and Chicago based Neanderthal drummer Weasel Walter bangs and crashes the final set. The sopranino is a mini alto sax tuned to E flat. I enter the Shop, situated between a DMV and a U-Store It facility, its dimensions were that of a defunct window tinting operation. A sizable foyer had some tables with artists merch, some stuffed animals, and a mirrored window with a drawing of a pink trilobite on it. Through the foyer had an ante room with some comfy dilapidated couches a coffee table with pizza boxes, a quart of Jack, and a mammoth Pokémon price guide. The “concert” space was a hard left from the pizzas and was cramped with the dozen or so patrons and bands. I enter to Kamins primordial blowing joined by Caleb and Luke, with Mike Larocca on drums. The improv ebbs and flows, it’s amazing how people can get together and be on the same page musically. I chatted with Kamins at the set break and learn he helms the jazz program at Rice University. Weasel Walter was the evenings highlight, joined by locals James McKain on baritone sax, young female Kelly Bray on trumpet, and Evan Palmer on standup bass. I sat in front of McKain, the tight space afforded me the spray from the bari as he squeaked and belched his way through the set. Diminutive trumpeter Bray was not light on sound. Palmer bowed and stabbed to great effect. Weasel Walter is the founder of ugEXPLODE records and has been a purveyor of extreme metal and punk jazz since the 90s. He is a member of the avant outfit the Flying Luttenbachers and I have seen him play guitar backing the punk chanteuse Lydia Lunch as part of her backing band Retrovirus. Weasel’s kit is a mish mash of duct taped drums, a bag of kitchen detritus, and some plastic surfaces to strike. While he was setting up, I dared him to play the Pokémon guide. The assault was deafening but visceral. While these two concerts could not have been more different with respect to sound and venue, I was happy to be able to attend both

Dr. Caterwaul’s Cadre of Clairvoyant Claptraps w/ Sam Moth 10/25/25 The Playwright

 Hamden’s Irish pub, The Playwright, was a perfect venue for this Irish-centric show. Local, young, female singer-songwriter Sam, teamed up with the musical omnivores Doc C to perform Sinead O’Connor’s 1987 debut album  The Lion and the Cobra in its entirety. The album put Sinead on the map and paved the way for the mega follow-up I Do Not Want what I Haven’t Got. Good crowd in the event room for the first of two performances on this evening. Let’s start with Sam, a young woman with a “Free Palestine” shirt, a commanding voice and stage presence, she embodied Sinead’s musical activism perfectly. She said that she came across the recording a couple years ago and was blown away. She pitched the idea to Doc C, which led us to the pub. Doc C has two masterminds, Adam Matlock on keys and accordion has been positively reviewed in this blog countless times and for countless musical endeavors. Recent sightings have him performing everything from show tunes to dungeon synth. The other pillar is Brian Slattery, Appalachian fiddle expert who also plays a mean electric guitar. Joined by two Mikes on bass and drums, the group deftly interpreted the recording. Some tunes had 80s pop sugarcoating, but were interspersed with poignant political daggers. The nine tunes enabled the double set and I’m hoping some extra cash for their effort. In order: Jackie, Mandinka, Jerusalem, Just Like You Said It Would Be, Never Get Old, Troy, I Want (Your Hands On Me), Drink Before The War, Just Call Me Joe. Doc C largely deferred to Sam who had obviously spent time in front of the mirror practicing. I was sitting next to Sam’s dad who was tasked with a disposable camera to preserve the proceedings. While I could have burrowed through my CD mountain to locate this recording, I opted to let Spotify remind how great this recording was. The made for MTV pop of Mandinka to the heart wrenching balladry of Just Like You Said It Would Be, the record has something for everyone. I chuckled with Sam’s dad as to how she would pull off the Gaelic spoken word intro on Never Get Old ( the original turns out to be Psalm 91 recited by Enya). Sam had a small recorder with the passage which she held up to her microphone as she sang. Pop, torch, and angst effortlessly flowed from this young woman. I asked Adam if I could pick his next interpretation project, he’s way too busy. Glad to have attended this show, and reacquainted with a timeless classic.

Jeff Tweedy w/ Sima Cunningham 10/17/25 District Music Hall Norwalk

 Multi-instrumentalist Cunningham starts the show at District. Armed with an electric guitar, Cunningham weaves compelling singer songwriter fare with a commanding voice and stage presence. Tunes that were funny and serious were introduced like a seasoned pro from such a young person. One number focused on the trials brought on by the pandemic shutdown. Another song had Cunningham wondering about communication from a recently deceased uncle who was born mute. Her final song brought her Finom band mate Macie Stewart out to accompany on violin and vocals. The harmony vocals were excellent and it will be worth keeping track of these youngsters from the fertile Chicago scene.

Jeff Tweedy needs no introduction here. As the leader of the rock juggernaut Wilco, he has been hailed as a singer, songwriter, smartass, writer, festival anchor ( Wilco helms the Solid Sound Festival at MassMOCA that rivals Newport Folk) and under the radar bard of our times. Turns out he is also a dad and had the good sense to take his two boys, Spencer on drums, and Sammy on keys out on the road to display his recent triple album release Twilight Override. The New York Times lauds this record as “Tweedy’s Magnum Opus”. With its late September release date, I had little time to ruminate on the record. I must say I agree with the failing NYT, the songs spilled out like a box of chocolates. Compact tunes expertly delivered in Jeff’s familiar mid western drawl. The Tweedy’s were joined on stage by the opening act with Cunningham assuming bass and Stewart on violin, keys, and sometimes guitar. Joined by another guitarist Liam Kazar, the band was tight and seemed right at home with Jeff’s endearing blend of witty lyrics and musicianship that careened from noisy Wilco-isms to hushed Americana. Twilight Override is so expansive that it was the show, the setlist: Western Clear Skies, Betrayed,  One Tiny Flower, Caught Up in the Past, Sign of Life ( live debut), Forever Never Ends, This is How It Ends,  Low Key, Gwendolyn, Mirror, Stray Cats In Spain, KC Rain ( No Wonder), Out in The Dark,  Ain’t It A Shame, Flowering,  New Orleans, Diamond Light Pt 1, Feel Free, Lou Reed Was My Babysitter,  Amar Bharati, World Away, Half-Asleep, Twilight Override, Don’t Forget (tour debut),  Family Ghost, Only Love Can Break Your Heart ( Neil Young cover, Sammy on vocals), Enough. Coming on the scene with his alt-country troupe Uncle Tupelo in the 90s, Jeff has seen it all. So when some drunken patron yells “you sound great!” he deftly shuts it down and backhandedly embarrasses the guy in the process. At another point, some people try to clap along as percussion. Tweedy, the sarcastic perfectionist, tells the crowd “ these are eighth notes, can you guys pick one clapper?” Without being gimmicky, Jeff says they pick one cover to perform nightly, “ some people are gettin dogs, but you guys are getting a good one” referencing the Neil Young chestnut. What could have been Jeff Tweedy fronting the Breakfast Club, turned out to be a veteran performer treating his kids and friends to an in the ringside seat to the music business, excellent show.

Nu Music 10/10/25 Firehouse12

 I’m usually a stickler on spelling, and the word “new”seems like a gimme. Alas, I am old enough to actually give a shit about the craft but realize that it makes me…. well, old. Never heard of Nu Music, but they seem young enough to disregard the institution known as spelling. The sextet is Ethan Kagan on drums, Hank Languish on laptop, Emmanuel Michael on guitar, Esteban Castro on piano, Nick Joz on bass, and special guest Steph Clement on trumpet. They appear to be NY based, and the music is rooted in jazz with nods to techno and sample culture. The first tune starts with an absolutely feral solo from Castro who toggles between piano and Wurlitzer. In comes Languish, a hooded figure who had his back to the audience. Computer swoops and squiggles color the rest of the ensemble. Kagan seems to drive the train from behind the kit, wearing a skirt and a Minnie/mickey T-shirt,  he seemed to exude Nu-ness. Joz  was skilled on standup bass, complementing Kagan’s attack. Michael and Clement are less flashy, but critical pieces to the overall sound. The second long form piece had Languish inserting fragments of “I Fall in Love too  Easily” the Chet Baker standard. The group rallied around the sound collage, a modern take on jazz. The final piece riffed on Nat King Cole’s rendition of “LushLife”. The notion of  taking old standards, cutting and pasting them in to modern compositions was novel and compelling.

Ches Smith’s Clone Row 10/3/25 Firehouse 12

 After last years viewing of drummer Ches Smith fronting a 12 piece HaitianVoodoo ensemble titled We All Break, I vowed to try to witness any event with his name in the mix. Smith immersed himself in Haitian culture and toured a group of traditional singers and percussionists garnering rave reviews. As Monty Python used to say, and now for something entirely different. Tonight’s lineup was a quartet of downtown jazzbos playing a more rocking straight ahead mix. Smith on drums, xylophone, and electronics; Nick Dunston bass and electronics, and the twin guitar attack of Liberty Ellman and Mary Halvorsen who I assume had electronics at their stations as well. The guitar interplay was fantastic with the duo facing each other. Their runs were either toward or away from each other, you could almost sense the telepathy of their movements. Smith moved easily from drums to xylophone, giving the angular compositions a Zappa feel (Ruth Underwood anyone?). Dunston’s excellent solo recording last year employed some electronics, and he seemed perfectly comfortable bleeping along. The electronic squiggles sometimes sounded old school, as if Leroy Jetson was trying to hail his friends on the CB. I have seen Ellman several times, but usually he is a buttoned up side man. In this setting, Smith let him free and he gave some Sonny Sharrock type fills. In order to appreciate the chameleonic nature of Smith, you have to realize he came on to the scene as a fill in drummer for Mike Patton’s avant noise group Mr. Bungle. This alliance placed him in the orbit of downtown free thinkers like John Zorn and Bill Frisell. The rest has been a marvelous journey through groups and musical styles which is still evolving.

Red Rocks Amphitheater 9/25/25 Morrison CO

 I’m not a firm believer in the power of crystals or gemstones. Amethyst on your forehead, thwarts whooping cough. Pyrite in your pocket, makes you feel richer. Lapis Lazuli on your privates, well never mind. How about being immersed in windswept sandstone?  World famous Red Rocks has hosted many concerts over the years, and I have seen some clips thanks to YouTube. The amphitheater is also a park that allows visitors to wander the concert space. The seating is no frills bench with assigned numbers, but the stage is amazing. State of the art sound, perfect sight lines, they even have a guitar crib for the roadies to inhabit. On our way up the ramp, we pass the tour buses for this evenings show. Bonnie Raitt and Jimmie Vaughan will give the crowd some blues and pop nuggets. Ringed by some iconic boulders, this natural space seems magical. Add in a beautiful Colorado night sky and this must be one of the best places to see a show. While timing did not allow for music, I was happy prowl the grounds.