Andrew Bird Concert Poster
Andrew Bird is the man, his hyper literate songwriting and creative whistling and use of the violin bring a ethereal texture to his songs.
This poster is a must have for any true Andrew Bird fan
Andrew Bird Concert
Roseland Theater Portland Oregon
Size 11 x 17 Inches (28 x 43 cm) Flyer Size
LOW INVENTORY ITEM, (One Left), It may be pulled for auction if it does not sell by midnight >>> 22 hours 36 minutes 31 seconds << Act now to OWN this
Andrew Bird’s recordings have the tendency to be grow on yous– their complex shine isn’t constantly instantly noticeable, but the even more time you provide them, the greater the layered, looping dividends will be.
I think the exact same is real for an Andrew Bird live show. It helps if you come in as a fan, with a relatively complete familiarity with his work. His subdued, focused performance Monday at the Paramount Theatre in Seattle wasn’t the kind of show to sway the unconverted, however a Bird diehard like myself was ex-tingly at the prolonged deconstructions of some catalog hits and cuts from the shimmering beauty of brand-new record Break it Yourself, which dominated the setlist.
After taking the stage alone and opening with the sprawling “Hole in the Ocean Floor,” Bird confessed he was feeling a little stressed out and needed to play a song more for his own perk than the audience’s. That was “Why?,” a wry, talky cut from Bird’s Bowl of Fire days. It was barely an orthodox opening, but it definitely set Bird on the right track as he was afterwards joined by a complete band and pushed with a bothersome primary speaker buzz to provide a transportive two-hour set.
Bird’s songwriting is remarkable. Bird completely accepts the peculiarities of his given topic, however does not create something too medical or too priceless out of it.
Monday’s show saw him do fairly devoted performances of Break it Yourself’s jackknifing baroque pop numbers like “Danse Caribe” and “Give It Away,” in addition to the more uncomplicated rock of single “Eyeoneye.” Even better though, were his reinventions of older material, like a prolonged jam of Armchair Apocrypha’s “Plasticities” and an extra droll rendition of the apocalyptic “Tables and Chairs” from The Mysterious Production of Eggs.
Wedged in the major set was a sweetly melancholy cover of “It’s Not Easy Being Green,” and the too-brief encore featured Townes Van Zandt’s “If I Needed You” and “Weather Systems” from the cd of the exact same name, which provided Bird’s phenomenal violin abilities– equally fantastic in picking and bowing– one last, transcendent showcase.
The only disadvantage to having as amazing a choice of tracks as Bird does is that a two-hour program doesn’t even start to scrape the surface of his catalog of songs. Monday’s Seattle stop was a stunning night.
It was hardly an orthodox opening, but it definitely set Bird on the right track as he was afterwards signed up with by a full band and pushed through a bothersome primary speaker buzz to bringing a transportive two-hour set.
Bird fully embraces the peculiarities of his provided topic, but doesn’t develop something too valuable or too medical out of it.
What up Andrew Bird?
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