Modest Mouse Concert Posters
Edgefield Portland Oregon 2008 Poster for The Modest Mouse show.
Modest Mouse Concert Poster
LOW INVENTORY ITEM, (One Left), It may be pulled for auction if it does not sell by midnight >>> 56 minutes 18 seconds << Act now to OWN this
Modest Posters on ConcertPoster.Org
Modest Bear & Whale Poster
I have always been a fan Modest Mouse. I first heard “This is for a Long Drive for someone with
nothing to think about”. Isaac Brock’s vocal style always reminded me of the best of PIL. Sort
of a Johnny Rotten Homage if you will.
Then they hit it big with “Float On”, but liuckily IMO the fame did not really change them too much.
They come with great quirky, inventive songs. I dare you to deny the hook on “Dashboard”.
With the addition on Johnny Marr the Modest Mouse line up just got greater.
These posters are for true fans of Modest Mouse.
In the late 1990’s, the Modest Mouse began selling out Portland’s Crystal Ballroom. Now, with one big show at Edgefield in Troutdale, the band has finally moved on from their old home.
After almost 20 years together, Modest Mouse has become every bit as robust a Northwest institution as McMenamins.
The two joined Saturday to celebrate the 100th anniversary of Edgefield. A crown jewel in McMenamins’ vast pub and lodging empire, Edgefield began as a poor farm– a sort of way-station for drifters, the even former and unemployed slaves who traded work for room and board. In 1991 the McMenamin brothers transformed the sprawling property into a lush, hedonistic vacation compound.
The celebration took place out on the lawn, as Modest Mouse concerts now often do. The once scrappy, sporadic and dynamic three-piece has been built up into a full-time festival headliner.
Matching their venues, Modest Mouse’s sound is huge. Two drummers thud, tussle and fill every gap. Guitars stack up, but often auxiliary players add atmospherics with horns, keys, and strings instead. Singer Isaac Brock moves from guitar to acoustic and banjo as the ensemble rumbles through keyed-up, twisted disco, barked raps and perverted jug band stomps– all anchored by subtle but intricate bass-lines of Eric Judy.
For most of the evening the band was joined by Lisa Molinaro on viola. Her band, Talkdemonic, which will release their next album on Brock’s label, Glacial Pace, opened the show.
Brock and company then burst forth with the crashing, heavy and confrontative” (Expletive) Luck,” from 1997’s “The Lonesome Crowded West.” During their two-hour set the band would reach back even further, pulling “Baby Blue Sedan” from their early B-sides and “Interstate 8,” the title-track of a 1996 EP.
With a vast catalog to draw from, Brock gives equal-opportunity to all eras (and with two bright, rhythm-forward numbers, he hinted at new ones). Despite the numerous fan-favorites, there are no standbys in Modest Mouse’s live repertoire.
Under their festival-tuned, six-piece arrangement, the dream-state of “Interstate 8” was bolstered by the addition of low and bending synthesizer. Others, however, labored under the band’s weight. “Wild Pack Of Family Dogs” lost its sense of quaint intimacy, while the dynamic shifts of “Cowboy Dan” weren’t as severe.
The loudest cheers came for “Float On,” which Brock first went and flubbed on to restart. Rather than sticking with the poppy structure of their breakthrough hit, a reworked and somewhat improvised ending allowed the song to unfurl, settle and percolate.
There were a few such explorations, but tempos remained in lock-step and generally tethered to central ideas. Here, the younger, more nimble Modest Mouse is missed.
That plucky band disappeared ages ago. Let it never be said, however, that Brock has rested on his laurels.
Like Edgefield, which grew from a refuge for the down and out into a luxurious suite, so too has Modest Mouse. One has to wonder: Where will they go next?
Near the turn of the century, the band began selling out McMenamins Crystal Ballroom. Now, with one big show at Edgefield it seems the band has finally outgrown their old home.
Singer Isaac Brock moves from guitar to banjo and acoustic as the ensemble rumbles through keyed-up, twisted disco, barked raps and perverted jug band stomps– all anchored by intricate but subtle bass-lines of Eric Judy.
Others, however, labored under the band’s weight. That plucky band disappeared ages ago.
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