[Toronto] I just wanted to visit my beloved, which is decimated – all the wall paintings in the small room are gone, the benches in the big room are torn out, and the bartenders are bland. Blah. This band has no definable sound. Lots of noise, male and female vocals. Mostly heavy. I didn’t like them.

On a mission to make amends for a half a year of pathetic homeboundedness. I like the looks of the place: mixed age, credibility without depravity. And then finally the band takes the stage. And they’re wearing an Austin t-shirt – what the hell!? Some Lake Travis sports reference, which I refuse to interpret as ironic, because the four boys are white and clean cut as all get out, and very likely did attend school in the wealthy suburb of Lake Travis. My other bone of contention is that Houston’s (pathetic) music scene is entirely dependent on Austin. Anyway, they are a meld of a power pop and pop punk. Watching them, I was mostly transfixed by the lead singer’s facial expressions – which could be interpreted as aggro or mental imbalance a la Charles Manson. Their songs brought to mind Fountains of Wayne, Spoon, Tom Waits, and Irish drinking songs. The keyboard player and his sound, I finally determined, are a key contributor to the character of this band. From what I saw, I’d say they’re a pretty good band.

four non-scenester guys playing semi-mopey semi-college-rock music – if I were being generous, I would compare them to Decemberists or Mountain Goats except they were far too unweird to compare to these bands – the lead singer was plenty insecure and depressed by the state of things but still too unemotional to be compared to Bright Eyes – and that was their problem – I could have tolerated a sound I don’t enjoy so much, but they just didn’t have a defined sound – two of the members had their Birkenstocks or whatever next to their mics and were wiggling their bare toes in the carpeting which was irritating – more irritating was being five feet from the band, you can imagine the acoustical nightmare – the price you pay for DIY I guess – my MusicSoulDoppelganger described this band as a ‘high school band’ – we agreed they didn’t do it for us

Rockboy and I saw this band years and years ago. I was bored and horrified stiff. He was ecstatic. Since then, I’ve learned a little, heard a little, and I don’t mind it when The Adicts show up on the ipod. Ironically, this show sucked ass too. But it wasn’t the band. It was a horrible sound system. I kept thinking that maybe I was just grumpy and didn’t understand how bass heavy the band is – I don’t think so. And, to be honest, it’s also their frat boy punk – it’s not for me. They’re party boys, which doesn’t fit well for me with punk ethics. The lead singer was decked out in sparkles, lights, face paint – if they had substance, maybe they wouldn’t need all of this decoration. Cases in point of their stupid lyrics: “We want you to fuck it up,” “This is the age where rage is all the rage” (a newer song – which just painfully demonstrates how old people should not try to be relevant), “We’re too young – too young to smoke drink” (don’t even pretend you can relate to teen angst as 50, 60 somethings!). I swear one of their songs included the phrase “give it to me baby” – even if it was ironic, I am appalled. They even did a song that had disco/rave influences – it’s so sad when a band can’t or won’t grow up. To be fair and ungrumpy, I will grant that this band has a good sound (recorded!) and that they don’t feel the need to conform to punk standards – they incorporated 50s sounds which were very pleasing. Unfortunately it was a very long set. As usual, I was relived somewhat by the crowd. A girl headed into the mosh pit with only a bra on – oh my. An awkward drunk guy molested his drunk tomboy friend by playing with the button on the back of her pants.

I saw him years ago at Waterloo Records and did not enjoy the experience. I felt like we were all exploiting his mental illness as cool ‘weirdness.’ And the music was terrible. He was much better at this show – more melodic songs and a clearer voice. He had another guy playing guitar for him. Maybe because he’s developed tremors – his hand was shaking so badly as he read lyrics that he had trouble reading them. The place was packed but he only played two songs – without apology. His second and last song totally reminded me of our first experience together with lyrics in which he described himself as a monkey in a zoo, and reminded the crowd that they could be like him, if not for the luck of the draw.

[New Jersey]: this band was more interesting –rollicking dance beat (dancepunk) with something of Bright Eyes, Mountain Goats, Hold Steady – three guys on key board & bass, drum, guitars – there was also a laptop on stage but I’m not sure what it was doing – the band’s girlfriends/sisters added a weird dimension to the show, incongruently twirling rave light gear, and singing along at the stage like a bunch of groupies – if I were in the band, I’d tell them to cut it out and stop biasing the audience with their antics – the band were very excited to be playing in CA for the first time, mentioning it first thing, and ending their first song with a reminder that that was the first time the song had been played in CA – it was cute – they told funny stories about their hotel bathroom with a toilet basically in the shower – I liked their music but his atonal plaintive voice got a little annoying

there was something awkward and youthful about them but it worked – note: the 90s are back, get out your flannel – it was that 90s quirky alt rock with some dark undertones – Rockboy heard Velocity Girl, Belly, Curve… – I heard Joy Divison but Rockboy clarified that it was more early New Order – they also had diversity

so Rockboy billed this band as a fantastic garage rock band he’d discovered at a previous SXSW – this didn’t really fit what I found online about them but I had faith – uh, well, not at all – they’re a mix of all of my guilty music pleasures: The Eagles, Tom Petty, The Beach Boys, Cracker, Jackson Browne – his voice was very David Lowery at times, which is definitely a plus for me – they were a tight bundle of country psych, jam rock, and southern rock – they made me intensely homesick for California and for long desert highways and for the 70s (even if all of these are ½ fantasy memories of mine) – they are from San Francisco – so their sound wasn’t necessarily anything new, but their sound was smooth and full and they came off as strikingly professional

a thin self-described-neurotic who plays girl rock on an electric guitar all by her lonesome, her voice was good, I thought she could be a Liz Phair for a second but her lyrics were way too average, her biggest downfall was her insecurity – she kept criticizing herself, faltering during songs, etc., Rockboy found her much less tolerable than I did but I do have a high tolerance for any female who occupies the stage all by herself and no less with an electric guitar

Quiet is the new loud. First struck by Richman’s constantly dopey expression, with the eyes of a cult-member and a mouth that is always slightly open. I like some of his songs just fine and I love his early Modern Lovers work, but the last time I saw him, I was bored stiff. The music was the same tonight—Spanish guitar, tribal drums, jazzy singer/songwriter, kind of jammy, mostly anti-pop—but the vibe with the crowd was all different. It was an intimate setting, and his lyrics were allowed to shine. Jonathan to the crowd: “Don’t just stare! What’s the point?” It was a poetry slam with a Sesame Street sensibility. He managed to pull off a performance that approached The Mountain Goats brilliance at live shows, giving off the feeling that we were privy to personal revelations. The first time he started dancing like a painfully white boy, it was hilarious. Jonathan on growing up weird: “My parents trusted me on the way to bohemia…” Jonathan on the tactlessness of ‘picking up’ a girl: “Hey, let’s pick up a 6-pack, 2 tires, and 2 girls…” Jonathan on your girlfriend leaving you for her old boyfriend: “Well, she’s back with her old boyfriend… Just let her go into the darkness… You want to tell her, her boyfriend’s no friend…Just take them sheets to the Laundromat!” Jonathan on building walls around yourself: “When we refuse to suffer, we refuse to feel, we can’t fall in love, … but we can have sexual relations.” Jonathan on his pretentious adolescence: “I talked with an accent I didn’t even have… in my affected accent [Jonathan as the crowd’s response: his affected accent]… such a brat… I should have been bullied more than I was.” The thing is, he’s still that adolescent. He sang Pablo Picasso with a fake little accent. He loves to slip into singing in different languages. The kooky dancing wasn’t funny after the first few times. All of his overt attempts to be eccentric just create distance. Still really enjoyed the show.

starting with the unnecessary apostrophe, this band irritates me – they have a song here or there that sticks in my head (Designs on You – which they did not play) but there’s a general earnest blandness about them that makes me tune out – their show was lively and we did have the good fortune to run into the WittyDrummer – not to mention it was a $20 show for which we’d won free tickets so there really wasn’t a question of whether or not we were going – the peak of my irritation was probably when the song Question came on with all its cutesy pseudo-witticisms: “someday somebody’s gonna ask you, the question that you should say yes to, once in your life, maybe tonight I’ve got a question” – I’m telling you, if anyone ever proposed to me with that sort of a lead-in, I never would have been dating them to start with – I also enjoyed watching the guy in the beret with the wacky face hair who did a drunken interpretive dance to every single song and was eventually shirtless and spinning any nearby female around in the middle of a very packed crowd

[Austin, TX] slow earnest rock – lead singer was a dead ringer for Colin Firth as he appeared in Bridget Jones’ Diary – 2 guitars, 1 bass, keyboard, drums – their sound was hard to pin down from the live show, I thought they were moderate shoegaze with songs that were structured like pop rock from YouTube, they sound like really good post-punk with gothic undertones

[Austin, TX] I really liked this band but then I really like shoegaze, at least some of it (basically The Stone Roses) – the band was tucked into one corner of the stage basically playing to each other – unassuming in plaid shirts – well-paced, sweet, and dense

I was hesitant about seeing this band because I can hardly stand hearing the giant names from the 90s nowadays let alone the post-grunge names from the 90s – but I always had a soft spot in my heart for this band – the album grew on me – rather than the one-emotion sound of say a Fuel or a A Perfect Circle, they were a little odder and darker, albeit poppier – so it was just the lead singer on an acoustic guitar with whom I assume was his daughter sitting behind him – his voice, without the support of a full band, was familiar but definitely not a strength – he did Possum Kingdom but the song that really roused the crowd was I Come From the Water, on which the audience handled the chorus

lead singer’s voice is some mix of Peter Murphy and David Bowie which sounds amazing but they’re not – they never particularly struck me in the 1990s and I figured out why once I saw them live some 20 years later – he’s just too happy – lead singer Richard Butler, looking either very old or wasted from years of drugs, wore a little scarf and danced with little glad-hands on the stage – this is not the sort of behavior I want from Peter-Murphy-voiced musicians – I’m being too hard on them though – lots of their songs are evocative of old times – I don’t know their body of work well enough to be critical (been together since the 1970s!) but they also don’t motivate me to find out more – there’s something one toned/bland about their music

[Seattle, WA] so most of the bands tonight ended up being former members of the audience, easily identifiable since the audience started out pretty sparse – this band ended up being the guy next to me who had the shirt I was crushing on (“No Trends”) and the guy in the “NoTV” shirt – as you might expect, people who don’t believe in trends aren’t necessarily a lot of fun – the music was a distinct departure from everything else, no feedback and no distortion, just clanging slapping-your-face guitar, bass and drums – they intentionally chose notes that didn’t quite fit together and weren’t exactly rhythmic or melodic – more of a marching discordant sound – NoTV was the mid-40s bald-headed singer, and he sang spoken voice a la Henry Rollins – NoTrends was the bassist, proficient, but the theological ringleader from my perspective at least – the band was a cross between Primus and Cake but that\”s making them sound better than they were – they were abrasive and unpleasant – so I was all prepared to give this band one of the worst reviews (at least for a group of good musicians) that I have in a long time, until they suddenly changed face and started playing faster and harder and were fantastic – so I conclude that they’re your average intently nihilistic hardcore band, who having aged, can’t turn to country or to writing ballads, so turn to slowed down hardcore that sounds like crap

[California now] surprisingly probably my favorite show – former bassist of The Stray Cats – he conveniently played some of their stuff and then did a sort of homage to Sun Records\” musicians – while same-old same-old rockabilly bands get tiresome tiresome, hearing his very apt renditions of Stray Cats\” songs reminded me how un-same of a band they were – cool darkness, style, distinctive pacing with the bass lines – they were a great band and he translated that to us all by himself (with a backing band) – and then he reminded me, something I only learned upon moving to Texas, of the pivotal-ness of Sun Records\” musicians, a good lesson for any young person

[Dublin, Ireland] average-joe middle-aged guys doing very enjoyable raucous rock that was a mixture of U2 and Irish pub songs

[Santa Cruz, CA] I have a small crush on David Lowery, both for this band and Cracker – the music was great, didn’t realize how many songs I knew from this band, but the man disappointed me – he flinched and stopped at one point, looking as if he’d been hit by something, but it turned out he’d somehow been shocked by the microphone – once he recovered (30 sec later), he started tapping his guitar to the microphone to show us the sparks and yelling that we should never return to this place – eventually one of the venue’s employees ran up to the stage to apologize but David grabbed his beer from his hand, poured it out on the stage, and pushed the employee, telling the crowd “See, he’s drinking while on the job” – he had a right to be upset but he took it too far? – they finished their set but ended by saying there wasn’t time for Cracker to follow as scheduled

[Los Angeles, CA] didn\”t find this band striking but it was in part due to total exhaustion – keyboards, guitars, and drums – kind of spacey lo-fo indie rock – appreciated their genuineness

[Portland, OR] he comes very highly recommended and is always billed as “Miles Kurosky (from Beulah)” – maybe he ought to have stayed in Beulah because I didn’t get him – it was bland dad rock even though there was like 8 guys on stage – we looked Beulah up and they are associated with the Elephant 6 collective which is associated with Of Montreal which is about the best thing I have to say

Despite illness canceling one show earlier in the week, the Counting Crows were in fine form during their Boston stop on the Traveling Circus and Medicine Show. Lead singer Adam Duritz started on the festivities with an extended PSA for the non-profits at the venue. Then the full company, the band plus Michael Franti and Spearhead and Augustana, came out for a rousing two-song introduction to the party. The Counting Crows took the stage on their own for the opening set that included a beautiful version of If I Could Give All My Love.

For their two sets, the Counting Crows covered a lot of ground, including a healthy dose of August and Everything After, Omaha, Mr. Jones, and Anna Begins. They brought out a rarity, the Nanci Griffith track Going Back To Georgia (which Duritz sang on and co-wrote), and from the new album When I Dream Of Michelangelo.

This was a fine, fine performance, and the format of the night, each band playing a shorter set intermixed with collaborations, actually worked. There was a seemless transition between sets. Some of the best songs were collaborative efforts, like Why Should You Come When I Call and a cover of Bob Dylan’s Just Like a Woman. The night ended as it began, with the full company on stage, pounding through a rousing version of Paul Simon’s Cecilia and the Crows’ own classic Rain King.

Augustana contrasted pretty sharply with the other bands by being an understated cross between Coldplay and Bob Dylan. Their two sets during the night where fine performances despite being low key pop affairs, giving the crowd a break from the frenetic energy of Michael Franti and Adam Duritz. Their music was mellow-bordering-on-emo, and their stage presence was completely swallowed up by the other bands. It was hard to see how they could carry a show on their own.

Playing the track Boston would have been pandering except it was the highlight of their set.

Jason Mraz spent the first few minutes on stage introducing his band, a unique way to get the party started. But it was a rippin’ party, complete with a short set from the back of the venue that gave the crowd back there some lovin’. Mraz is an awesome stage performer, with a beautiful range and a way of transitioning between ballads and long extended jams that feels natural and keeps the audience engaged from start (an introduction by Bushwalla) to finish (a lengthy goodbye to the audience just Mraz on stage by himsefl). There were no hiccups in the almost two hour set, highlighted by a soaring version of Only Human, a singalong of I’m Yours (complete with Bob Marley’s Everything’s Gonna Be Alright).

Marz stripped down to the bare essentials for a short set from the back of the venue, shown on the video screens in black and white for the benefit of the people in the front of the house. Included a spine-tingling version of At Last that segued into Sleep All Day. The band jammed while Mraz made his way back to the mainstage for an encore of Clockwatching (including a hint of the Charlie’s Angels theme song) and The Dynamo Of Volition.

Jason Mraz setlist
Fun, Fun, Fun
The Remedy (I Won’t Worry)
Make It Mine
Who Needs Shelter
If It Kills Me
Live High
Only Human
Unfold
Beautiful Mess
I’m Yours/Everything’s Gonna Be Alright
Butterfly
Back of the Venue
Lucky
Never Too Late
At Last/Sleep All Day
Copchase
Encore
Clockwatching
The Dynamo Of Volition

sported the polish and confidence of a band who has performed for years and years – almost want to write them off as silly party boys but they managed to pull off sunglasses at night, coordinated movements, and holding the guitar up for the audience to worship because they are sincere in their worship of rock and because they can back it up with some really good music – very nearly 3 separate bands within one: they had very tight garage punk songs that were distinguished by short punctuated segments a la The Hellacopters, they had songs that were spot-on expressions of the nichey genre “punk n’ roll,” and they have their country a la Cracker – lots of wah wah pedal too – they’re fun for the whole music family

we hated it and left after a couple of songs but keep in mind that 4 days of 12 hours of music will make you a tad intolerant of average-joe rock – UrbanBiker described it as music for the 20- to 30-year-old female – heartfelt! emotional

Ben Folds spent the first “60 minutes or so” on his new material Way to Normal. It was a confusing romp, typical Ben Folds melodrama…er, melodies, some playfulness and a few outstanding tunes. But it all got lost in the mix because the new album isn’t out until Tuesday and so the songs were largely unfamiliar. Then there was the continuous switch between the “real” songs and the “fake” songs.

He explained it something like this. After the album details had been locked in, the band went back into a studio and spent three days recording “fake” songs to leak out to the internet. So Folds and co. brought the real and the fake to the show. So we got two versions each of Brainwascht, Frown Song, Free Coffee, Dr. Yang and set closer Bitch Went Nuts. It is wrong that a few of the fake songs (in particular Brainwascht) came off better than the real ones? The best of the fakes was what he called Free Coffee Town (the original’s just Free Coffee.) Better than the original? Okay, maybe that’s harsh. But at least equal.

He opened with Way to Normal, which isn’t even on the new album. The fourth song of the set, the single You Don’t Know Me, was the best of the night. Runner-up was the tune Effington. Kylie from Connecticut was a mercifully short detour into balladry.

Folds’ band are totally game for his high drama style of performance, from the bassist singing respectable harmonies in place of Regina Spektor (on You Don’t Know Me) to the frequent forays to the front of the stage for the guy who plays the glockenspiel. The background images were projected onto a curtain, an innovative way to give the backdrop a bit of texture. After a while though, the images started to blur together. And frankly, for anyone in the mezzanine or balcony, the lighting the entire night was obnoxious (and unfortunately, seemed purposeful.)

The encore of sorts was a short set of Ben Folds hits including Rockin’ the Suburbs and Army.

Ben Folds setlist
Way to Normal
Brainwascht (real)
Effington
You Don’t Know Me
Free Coffee (real)
Brainwascht (fake)
Errant Dog
Cologne
Free Coffee (fake)
Frown Song (real)
Hiroshima (B B B Benny Hit His Head)
Dr. Yang (fake)
Dr. Yang (real)
Kylie from Connecticut
Bitch Went Nuts (real)
Bitch Went Nuts (fake)
Encore
Zak & Sara
Rockin’ the Suburbs
Underground
Landed
Army
Frown Song (fake)

Prologue:

A long-time closet favorite of mine – her melodies are soothing – her lyrics are smart, interesting and relatable – she’s stunning – realized tonight that her incongruently deep speaking voice may be what makes her songs within my range

Austin City Limits tapings:

Only my second because they make the tickets practically impossible to get (not for sale so have to have connections), this of course creates the requisite mystique, plus they generally only book high-quality musicians and have a tremendous sound system, the crowd (seated and genteel) is basically middle-aged musicheads and suburban people who otherwise don’t go to see music

Impressions:

Quite awkward with gangly and ungraceful height and shoulders hunching up to her ears – her face matches her deep voice with sharp features, a defined brow and oft-blinking eyes – despite all of this she is an attractive person – pretty rigid on the stage outside of her mildly ribald between-song commentaries and a seemingly intentional stage presence (smiles, rock star poses, etc.) for the last song – seemed to be using “fuck” to convince the audience that she is not mainstream

Started with single “Freeway” from her new album – the song that her fans supposedly hate, “The Great Beyond,” was clearly a departure (almost proggy classic rock) – but then I realized that she’s genuinely got a prog rock bent what with the moog and organ accompanying on every song – had a token world-music song – did a very nice job with “Save Me” and “One is the Loneliest Number” from Magnolia – hit every song from my favorite album (Bachelor No. 2) except for “Hanging Around” – the three encore songs were all from this album: “How Am I Different,” “Nothing is Good Enough,” “Calling It Quits”

Moog player was clean-cute-cute with Converses – organ player was old rocker with long frayed hair in a Mean Eyed Cat t-shirt (a Johnny-Cash themed bar in Austin) and velvet jacket – buddy on bass was 80s geek with bold tie and striped shirt under business jacket – drummer was a healthy round bald guy with heavy glasses – not sure that she has a regular band outside of the geek

Her singing voice is very natural and effortless – it can be melodious and perfect but then there’s a constraint or stiltedness to it (somehow a part of that effortlessness) – something about this and her general minor-chord aura reminds me of Townes Van Zandt – realized that part of the stiltedness is her voice sliding into nasal restraint for the higher notes – I figured all of this out when she did my favorite song “Red Vines” without her band, slowed down and acoustic

Doesn’t try to sound like the boys but definitely not a girly girl singer – she’s a good pop song writer: melodies with some driving loops but some of her songs sound too much like her (repetitive or too clearly Aimee Mann) but some are lovely and take you in – high quality pop that endures

Her between-song banter largely involved mocking the pee-ers – admitted she was very nervous – told a story about a song that she wrote for Shrek 3 that was in part inspired by Snow White and the dwarves that she quite liked despite it not being quite her style (try-try-try again theme) – but after they asked her to speed it up and then asked her to make it sound like Fall Out Boy and then didn’t accept it anyway she totally reworked it and changed the meaning to a twisted fairytale theme

Epilogue:

So I was operating under the impression that she was a fellow child of the 90s in her Doc Martens, jeans and funky little t-shirt and vest – not to mention she sang a song about being 31 and realizing that your life isn’t what you expected it would be and that you really ought to have your shit more together – but upon some googling when I got home I figured out that she’s 47 (!!!), was in a punk band called Young Snakes when she dropped out of Berklee music school and then a new wave band Til Tuesday in the 80s.

not as dirty (“music for the unwashed and well-read” as they say) as I remembered them “darling curly haired middle-aged member still smoked on stage but nobody else did” think the vision I have of them all living together in a trailer in a incessant jam session is just that (a vision), easy to pick out the member who sang on the cover of Gin and Juice with his highish irreverent voice, had them classified in my head as hard bluegrass but totally inaccurate, covered a huge range of styles on a generally “rootsy” (as they said) foundation, started off with strong twinges of Cajun but depending on who sang veered toward British invasion, Southern rock, etc. etc., they’re a more countrified Grateful Dead, you should know that guitars, mandolins, bass, accordions, keyboards, drums, fiddles, banjos, lap steels are employed

unassuming look but quite good, Rockboy pointed out that you don\”t often see a female on lead guitar (usually it\”s bass) and she was darling and pouty too, the rest were baseball capped average joes but they enthusiastically played noise-pop, bit of a shoegazer sound

young whippersnappers with too little cred (in music or life) to be as cocky as they were in their silly sunglasses and tidy little mohawks, had a huge college-hippie crowd, they do mostly covers (I believe) of bluegrass/country, grudgingly acknowledged that they sounded the tiniest bit like O\”Death but don\”t take that too seriously

Although they were out promoting a new album, the new songs were few and far between. Maybe for the couple hundred fans crammed into the Somerville Theatre, that’s just as well. They played the old tracks with a pretty hard rock emphasis going all the way back to She’s An Angel and Ana Ng, and the crowd ate it up. But even the new stuff was well received, with the track Contrecoup got the same level of cheer as Alphabet of Nations (which, in this humble reviewer’s opinion, was a major highlight.) They got the crowd going with favs like Doctor Worm, Particle Man and a rousing participation-required run through of Clap Your Hands. Both The Guitar and Hey Mr. DJ sounded more cohesive live than their studio versions (you’re a real song, Pinocchio!)

Since on average, a They Might Be Giants song runs a two-minutes, a two-hour show makes a meaty setlist. John and John have been playing together for 25+ years but the witty banter seemed more like a forced time out for old men (they look every bit the late-forties they are) than adlib. At thirty-plus songs / two plus hours, the show started to sag a bit at the 1 hour mark but they quickly revived the energy with New York City, a great version of Take Out the Trash and the main set closer The Mesopotamians (both from their new album The Else.) They closed out with Birdhouse in Your Soul and Fingertips.

At the beginning of the show, the crew threw out yellow foam hands labeled with the band’s name. Since I was in the front row, I ended up with three (they’re foam, it’s not like they throw very far) and gave them to the two teenage boys sitting in my row with their fathers. Midway through the show, they shot confetti out from a canon and again as the show closed. It was a lot, and some of it ended up on my bedroom floor.

I’ve been a fan of TMBG for twenty years and it’s a shame it took me twenty years to see them live. Then again, it’s amazing that they are still playing live. I don’t say this to mock their age, but John and John both use very affected vocals (often, instead of straight singing, they use almost kid voices, or voices you might use to talk to kids.) I’m impressed that in all these years, they can still do that and be pitch perfect on every song and harmonize with one another. Okay, I get it, they’ve had a lot of practice. Though they haven’t mentioned releasing this leg of the tour as live mp3s, it’s too bad. From what I heard, it would be worth the $10.