Tickets Needed - Avett Brothers - Rebecca Cohn- Sept 10

[GillettBreweryCnslt]

Hey Everyone,

I'm looking for two tickets to this show at the Rebecca Cohn on Sept 10th. If you have extra or know how to get some, I'll be in your debt.

Thanks

[GAM]

Ya. This is the first I have heard of this I want two or a date for my wife.

Sandy

[GillettBreweryCnslt]

Yeah, it's the anniversary with the wife and we both love this band, so it would be great to go.

[mr x]

Could they have picked a worse venue?

I do see tickets on kijiji for Fredericton...long drive.

[mr x]

Avett Brothers take audience on wild ride

The past few months could go down as the Summer of the String Bands, bookended by a Maritime visit from Old Crow Medicine Show as May turned into June, and Tuesday night's room-shaking show by North Carolina's Avett Brothers at the Rebecca Cohn Auditorium.

Seeing Old Crow at Olympic Hall was in every way a rousing good time, but in my bones I feel the Avetts have the edge when it comes to songwriting and showmanship, and on Tuesday night Scott and Seth Avett and their bandmates took us on an often wild ride through their impressive body of work, built up since their self-titled debut in 2000.

“Remember, we’re all in this together,” they sing in the title track to their last album The Carpenter, and that pretty much sums up the communal spirit that was shared at the Cohn. Playing 25 songs over two hours for a sold-out crowd, the Avetts and their four fellow musicians took us from gospel and bluegrass through punk and pop without missing a beat, reminding listeners that you can never underestimate the power of an amplified banjo.

After the slow build of The Carpenter track Life, the Avett Brothers’ sound really gelled on that same record’s Laundry Room, where I could really take in the way all the parts fit together. Right up front is that special harmony that only siblings seem to share, from the Everly Brothers to the Barra MacNeils, and there’s enough of a distinction between Scott’s plaintive tone and Seth’s honest and earthy delivery that makes for a fabulous blend when they both hit their marks.

But there’s also the basement oomph of Bob Crawford’s double bass and Joe Kwon’s alto glow on cello, taking us to the moment when the song explodes in a whir of rapid-fire rhythmic hand clapping,driven by Seth’s frenzied double-time strumming.

Only two songs in and there was every indication that this was going to be a very special evening. Looking to the back of the room, I could see a handful of fans having their own private dance party behind the last row of seats during the pure hoedown of I Killed Sally’s Lover, and the poppy Live and Die got an extra energetic kick as the Avetts did a bit of pogoing over Crawford’s electric bassline.

It’s the rare group that can go from the Ramones-y “punkgrass” of Gimmeakiss directly into an old fashioned country ballad like Salvation Song, with an a cappella vocal break that sends chills down your spine. But the Avett Brothers aren’t interested in churning out endless variations on the same roots music sounds, although the new single Another Is Waiting, from the forthcoming album Magpie and the Dandelion, might be a hybrid too far for some fans.

The latest installment in their ongoing collaboration with producer Rick Rubin, the song was described to me by a friend of mine as sounding more like Green Day than the Avetts with an undistinguished pop-punk melody, although I preferred the live version to its studio counterpart. We’ll have to wait for Magpie and the Dandelion’s Oct. 15 release date to see what other surprises it holds in store.

“It’s like you guys share a secret corner of the world, it’s a beautiful and amazing,” Scott remarked halfway through the show about their first trip to the Maritimes. “Thanks for sharing it with us.”

“We seem to think all places that are new to us are a secret,” countered Seth. “Either that or really weird. That’s how self-centred we are.”

But not so self-centred that they’d deny the purists a blast of straight-up traditional tunes, like a medley of Fireball Mail and Blue Ridge Mountain Blues, or the gospel classic Just a Closer Walk With Thee, where they played with the acoustics of the room and Scott provided his harmonies from way off mic.

There were great electric moments too, like Pretty Girl From Chile, which felt like a hybrid of tango and flamenco, with Seth whipping his shoulder length hair about; until the old movie studio spotlights that graced the stage switched to blazing white and the band came out at top volume driven onward by drummer Mike Marsh. Not stopping there, the rail-thin guitarist leapt off the stage during the power pop number Kick Drum Heart, running up the aisle to solo for one lone dude who was rocking out at the back of the hall.

“We could stay here all night, I’m not kidding,” said Scott after an extended standing ovation, and he seemed sincere even though we all know this is international rock-speak for “We have to go now.” Even so, the Avett Brothers left us with heartfelt renditions of Offering and Head Full of Doubt/Road Full of Promise that seemed to promise that they might head back this way again sometime.

[GillettBreweryCnslt]

Decent review, they are one of my favourite bands currently but sadly I couldn't pay scalper prices for tickets.

Next time.

[GAM]

Wonder if they played any of this.

http://www.youtube.com/watch?v=St7TR2ZV ... r_embedded" onclick="window.open(this.href);return false;

Sandy