dsmith2904
ONE love, blood, life
[SIMG]http://forum.interference.com/gallery/data//585/11265aimee-sml.jpg[/SIMG]
By Jodie White
2006.09
Coming off her appearance at the Austin City Limits music festival only days ago, the intimate Melting Point club on September 19th must have felt like a different world to singer-songwriter Aimee Mann. And yet, it is in this more personal setting that she truly comes into her element. Accompanied only by longtime bassist Paul Bryan and pianist Jamie Edwards, Mann put on a breathtaking show during her first ever stop in Athens, Ga.
In this tiny venue, on an even tinier stage that barely left room for a grand piano, she immediately seemed at ease with the audience. After making a joke about her "risqué" top that nearly revealed "the most boring bra on the planet," she launched into a solo acoustic rendition of “High on Sunday 51,” off her 2002 release “Lost in Space.” Bryan and Edwards joined in for "Goodbye Caroline" and "You're With Stupid Now," two songs recorded 10 years apart, and yet equally as powerful and well-received, a testament to her well-earned longevity.
Early in the set, Mann considered her set list and announced to a thrilled audience that she didn't feel like sticking to it tonight. Almost at once, she was greeted with a storm of enthusiastic song requests, from which she chose first to play a well-rehearsed and tight "Red Vines," a melancholy fan favorite from 2000's “Bachelor No. 2.” More surprises were in store as a new, untitled song was followed by a cover of Harry Nilsson's "One." Mann and her band were all smiles as they extended the instrumental section at the end of the beloved song. As for many songs throughout the evening, Edwards was on piano and once again proved himself as a truly outstanding accompanist. More requests followed; after moving through a forceful rendition of "Humpty Dumpty" with ease, a particularly adamant fan insisted she play "Beautiful," the closing track to 2005's “The Forgotten Arm,” and possibly the closest Mann has yet come to a simple love song. Although she admitted they hadn't rehearsed the track in awhile, Bryan teased her, asking if she "had the stones" to attempt the song. After stumbling through the first verse and chorus, Mann ended the song with a grin and proclaimed, "Thank you everyone ... Beautiful," to appreciative laughter, and promised only to play songs they knew for the rest of the night.
True to her word, the band delivered riveting performances of "Video," "Little Bombs" and "Today's the Day" (another fan request). Mann and her cohorts never seemed to get lazy with any aspect of the music; one was continuously amazed by the clarity and force of her emotive vocals, Bryan's flawless bass lines, and the way in which her acoustic guitar perfectly complimented Edwards' arresting piano. There's a reason Mann has extended this acoustic tour as much as she has—this stuff works.
Keeping things interesting, Mann took a seat at the piano and performed another new song, this one a gorgeous track entitled "Medicine Wheel." Showing her remarkable versatility, she also picked up a bass later in the show for a moving rendition of the delicately sad "You Do." Perhaps the highlight of the evening followed, as the audience experienced a breathtaking and flawless performance of the heartbreaking "Wise Up," from the “Magnolia” soundtrack. She smiled as she introduced her most famous song, "Save Me", also from “Magnolia,” as one she'll always remember as "the song that lost the Oscar to Phil Collins and his cartoon monkey love song" to much laughter. As it drew to a close, she thanked the audience over and over for a wonderful night and exited the stage to enthusiastic applause and a standing crowd. Unsurprisingly, they were back shortly, grinning as they once again took the stage. Incredibly, it was request time once again, Mann playing two gems from her debut solo album, “Whatever,” "4th of July" and "I've Had It." As expected, the show ended on a climatic note with the always wonderful "Deathly," with Edwards on piano doing an outstanding interpretation of that famous guitar solo. The crowd clapped in time as the three jammed at the end of the song, all smiles; they had to know what a special show they'd just put on. Finally, the song drew to a close, and after many gracious thanks Mann, Bryan, and Edwards left to ravenous applause that followed for quite some time behind them.
One of the most overlooked and underappreciated artists writing today, Aimee Mann has never sounded better than on her current acoustic tour. If you haven't seen her yet, don't miss your chance to catch one of her North American dates this fall. Look for her Christmas album later this year as well.
For information on tour dates, Mann’s music and more, visit her official website.
By Jodie White
2006.09
Coming off her appearance at the Austin City Limits music festival only days ago, the intimate Melting Point club on September 19th must have felt like a different world to singer-songwriter Aimee Mann. And yet, it is in this more personal setting that she truly comes into her element. Accompanied only by longtime bassist Paul Bryan and pianist Jamie Edwards, Mann put on a breathtaking show during her first ever stop in Athens, Ga.
In this tiny venue, on an even tinier stage that barely left room for a grand piano, she immediately seemed at ease with the audience. After making a joke about her "risqué" top that nearly revealed "the most boring bra on the planet," she launched into a solo acoustic rendition of “High on Sunday 51,” off her 2002 release “Lost in Space.” Bryan and Edwards joined in for "Goodbye Caroline" and "You're With Stupid Now," two songs recorded 10 years apart, and yet equally as powerful and well-received, a testament to her well-earned longevity.
Early in the set, Mann considered her set list and announced to a thrilled audience that she didn't feel like sticking to it tonight. Almost at once, she was greeted with a storm of enthusiastic song requests, from which she chose first to play a well-rehearsed and tight "Red Vines," a melancholy fan favorite from 2000's “Bachelor No. 2.” More surprises were in store as a new, untitled song was followed by a cover of Harry Nilsson's "One." Mann and her band were all smiles as they extended the instrumental section at the end of the beloved song. As for many songs throughout the evening, Edwards was on piano and once again proved himself as a truly outstanding accompanist. More requests followed; after moving through a forceful rendition of "Humpty Dumpty" with ease, a particularly adamant fan insisted she play "Beautiful," the closing track to 2005's “The Forgotten Arm,” and possibly the closest Mann has yet come to a simple love song. Although she admitted they hadn't rehearsed the track in awhile, Bryan teased her, asking if she "had the stones" to attempt the song. After stumbling through the first verse and chorus, Mann ended the song with a grin and proclaimed, "Thank you everyone ... Beautiful," to appreciative laughter, and promised only to play songs they knew for the rest of the night.
True to her word, the band delivered riveting performances of "Video," "Little Bombs" and "Today's the Day" (another fan request). Mann and her cohorts never seemed to get lazy with any aspect of the music; one was continuously amazed by the clarity and force of her emotive vocals, Bryan's flawless bass lines, and the way in which her acoustic guitar perfectly complimented Edwards' arresting piano. There's a reason Mann has extended this acoustic tour as much as she has—this stuff works.
Keeping things interesting, Mann took a seat at the piano and performed another new song, this one a gorgeous track entitled "Medicine Wheel." Showing her remarkable versatility, she also picked up a bass later in the show for a moving rendition of the delicately sad "You Do." Perhaps the highlight of the evening followed, as the audience experienced a breathtaking and flawless performance of the heartbreaking "Wise Up," from the “Magnolia” soundtrack. She smiled as she introduced her most famous song, "Save Me", also from “Magnolia,” as one she'll always remember as "the song that lost the Oscar to Phil Collins and his cartoon monkey love song" to much laughter. As it drew to a close, she thanked the audience over and over for a wonderful night and exited the stage to enthusiastic applause and a standing crowd. Unsurprisingly, they were back shortly, grinning as they once again took the stage. Incredibly, it was request time once again, Mann playing two gems from her debut solo album, “Whatever,” "4th of July" and "I've Had It." As expected, the show ended on a climatic note with the always wonderful "Deathly," with Edwards on piano doing an outstanding interpretation of that famous guitar solo. The crowd clapped in time as the three jammed at the end of the song, all smiles; they had to know what a special show they'd just put on. Finally, the song drew to a close, and after many gracious thanks Mann, Bryan, and Edwards left to ravenous applause that followed for quite some time behind them.
One of the most overlooked and underappreciated artists writing today, Aimee Mann has never sounded better than on her current acoustic tour. If you haven't seen her yet, don't miss your chance to catch one of her North American dates this fall. Look for her Christmas album later this year as well.
For information on tour dates, Mann’s music and more, visit her official website.
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