The innovative singer-songwriter’s return to Meijer Gardens on a picturesque night was enhanced by opener/phenom Esperanza Spalding and overcame a fan dispute. (Review, photos)
Attendees expecting a predictable performance Monday at Frederik Meijer Gardens & Sculpture Park were likely surprised when they became well-acquainted with two world-renowned musical pioneers, whose performances broke conventions, averted instrumental limitations and obliterated more than a few exceptions of what was on the docket for the evening.
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Grammy Award-winning songwriter Esperanza Spalding opened the unique night of music with a flabbergasting set of avant-garde and neo-soul originals.
With an upright bass at her side, Spalding’s vibrant voice cut through the intensely complex instrumentation. Joined by two other vocalists, a drummer and saxophonist, Spalding and her band gave the sonic illusion of controlled chaos: chords bumped unflinchingly into one another, melodies ran loose in a wild dance, and upon a near-collision with dissonance, Spalding tightened the reigns, bringing everything back into focus. Her set ended with a thematic, two-song journey, examining the importance of perspective.
Sporting a white blazer, and with a violin under his arm, Andrew Bird took the stage gracefully, opening with a solo instrumental that proved equally as graceful.
A kaleidoscope of swirling orchestral compositions floated gently into the amphitheater, layered and looped one after another: first a bass line, then a harmonized string section, then a soaring violin melody, and finally a hypnotizing whistle: a tapestry of sounds. Yet, after the sonic dust settled, Bird remained the only musician onstage, having created every piece of music himself, with only the help of a looping pedal.
ONE OF MEIJER GARDENS’ MOST UNIQUE SETS
As applause erupted, Bird was joined by his band, and the quartet launched into what was quite possibly one of Meijer Gardens’ most unique performances.
The classically trained violinist displayed his impressive genre-spanning versatility with each song. During “Effigy,” Bird ripped through the song with an electric violin lead. The mood then shifted entirely when the band eased comfortably into “Why?,” a soulful refrain, fit for the likes of a smoky jazz club. Bird embodied the very essence of swagger during the song, tastefully slurring words and stepping to the beat.
Yet another genre shift came with “Capsized,” an airy electric tune with a California-surfer-meets-classical vibe. Bird plucked out one fitting distorted violin melody after another, transcending the original capabilities and intentions of the instrument.
Calming to a measured stillness, Bird and his band shifted on stage and gathered around a lone condenser mic. With two guitars, sparse percussion and Bird on violin, the amphitheater fell nearly silent as the musicians spun an “old-timey” number. With the timbre of his violin now crisp and void of effects, the virtuoso musician displayed his abilities in the rawest of mediums. During the song, “Give it Away,” Bird strummed his violin as if it were a ukulele while whistling a bright, carefree melody.
OVERCOMING ‘A LITTLE COMMOTION’ IN THE AMPHITHEATER AUDIENCE
When the group returned to their regular posts, they unraveled a rollicking anthem in the form of ”Three White Horses.” Easily one of the most rocking numbers of the night, Bird strapped on a guitar and hammered out ringing chords and shimmering leads with ease.
Bird handled one troubling issue with aplomb. During the first half of the show, some fans yelled at folks standing up down front to sit down.
“There seems to be a little commotion over here. I’m not gonna get involved. I’ve got a lot going on up here,” Bird said jokingly, as fans tried to explain the situation.
“I don’t know what to do. I understand both sides of it. This seems to be sort of a chilled-out situation, so I’m OK with either (standing or sitting).”
Near the conclusion of the band’s main set, Bird performed a fan-favorite, “Pulaski at Night,” a nostalgic ode to Chicago. The song’s pizzicato intro gave way to long, sustained violin chords under Bird’s longing voice and sentimental lyrics, likely to make any Chicagoan proud.
After a standing ovation and wave of applause, Bird returned onstage, once again making his way to the condenser microphone for another acoustic endeavor. This time, the quartet delved into the only cover of the night — a beautiful, sultry and perfect rendition of Neil Young’s classic “Harvest.”
When the chorus began, couples embraced and sang the familiar words into the clear sky: “Dream up, dream up, let me fill your cup, with the promise of a man …”
PHOTO GALLERY: Andrew Bird, Esperanza Spalding at Meijer Gardens
Photos by Anna Sink