Magnolia Electric Co.
Date: October 3, 2004 Nothing Anymore in Vain For me, the apex of the Pop Montreal 2004 festival was Magnolia Electric Co. headlining a set at La Sala Rossa. Although I felt that it took some time for Jason Molina to reach full stride, he and his band ultimately delivered a very fine performance that ended the musical weekend on a high. The night commenced with Field Register, who played a somewhat tentative set that was decent but never truly made a strong connection. More successful was Howie Beck, who captivated the early-arriving portion of the crowd, who sat on the floor and took in his performance. Beck's affable stage presence was an interesting counterpoint to his often melancholy songs. At one point he mentioned having a new album out before pausing to ask, "Wait--who here has actually heard of me before?" Even though few had, I am sure that Beck had already made enough of an impression with his playing and personality to pique interest in his albums, new or old. The sparse sound of Howie Beck, who was assisted by only one other musician, was sharply contrasted by the full onslaught of Magnolia Electric Co. Vocalist/guitarist Jason Molina was supported by a squad that covered guitar, drums, bass, keyboards, and steel guitar. The steel guitar player was very prominent throughout the affair; but it was the wild-looking, frizzy-haired electric guitarist who stepped forward the most, with his blazing leads. The excellent musicianship helped to overcome the early portion of the show, when Molina was not in perfect form. Although the singer always sounded good, it was some time before he reached his full powerhouse potential. Another early distraction was Molina's continual fidgeting with the monitors, which only ceased after he had flipped two on their ends, faced them against each other, and started playing hunched over between them. From my vantage point at the front of the floor, I quickly discovered that the setlist taped to the stage was a rough sketch, rather than a rigid recipe. While the listed songs did find their way into the mix, the order was decided as the show progressed. This haphazard approach had its benefits and its drawbacks. The downside was a slackening of the pace, which added another obstacle to the concert's momentum. On the other hand, when the delays were minimized, the loose feel actually added to the mood. The set was drawn from Molina's earlier Songs: Ohia canon, more recent work performed under the Magnolia Electric Co. banner, and unreleased material. After "Dark Don't Hide It" set the tone for a country-leaning night and "What's Left After the Blues" emphasized that Molina would not be confining himself to well-known material, it was the ragged "I've Been Riding with the Ghost" that got the crowd going. Other highlights included "Steve Albini's Blues," "Just Be Simple Again," "Don't Fade On Me," and a cover of Bob Dylan's "Wallflower." The pinnacle of the concert came towards its end, though. "Almost Was Good Enough" was the bliss that I had been waiting for, with Molina's flawless vocals equaling the inspired playing of his backing band. The convergence of a commanding singer, a brilliant group of musicians, and an enraptured audience created one of those perfect moments that continue to draw me to concerts. From that song onwards, the band was golden, including a rollicking pass through "Hammer Down" and a fantastic cover of "Mamas, Don't Let Your Babies Grow Up to Be Cowboys." While a few flaws kept the concert from meeting my massive expectations from its very beginning, the Magnolia Electric Co. performance proved to be a fantastic cap to the Pop Montreal festival. <--Prev (Franz Ferdinand) | Next (Alice Cooper)-->Return to Concert ListReturn to Main Page |