Genius. That’s a word that gets tossed around rather indiscriminately in popular music, a form of art where image and hyperbole often compete with the actual product. The problems with labeling an artist as a genius are that (a) it’s a completely subjective determination and (b) it presupposes that the person making the designation is qualified to do so. With those caveats stated, there is no doubt in my mind that Brian Wilson is one of the few true geniuses of the rock ‘n’ roll era. Wilson transcended his influences (Chuck Berry, Phil Spector, vocal harmony groups) to develop an oeuvre of stunning beauty and complexity. When you see Brian Wilson in 2015, partially you are paying to see his performance and partially you are in attendance to pay tribute to his genius.
Wilson is a sympathetic figure, even more so do to the recent biopic Love & Mercy, and with his personal tragedies and triumphs, it’s impossible not to root for the man. He was in good spirits on this evening, giving brief song introductions (“This one’s in the key of E,” “Let’s hear the girls yell,” “This one rocks like hell!”) and punching the air for emphasis. Obviously, the 73 year old version of Brian Wilson doesn’t have the vocal strength or range that he did in his youth. Still, he didn’t phone in any parts of the performance, putting a dedicated effort into giving it his best. Vocal duties were split between Wilson, Al Jardine, Blondie Chaplin (who looks like an aging Lou Reed), and Matt Jardine. Matt took many of the higher pitched vocals and needs to be moved off the back row and dress better as a featured performer.
It was a generous set, over thirty songs in under two hours. No wasted solos or riffs, with performances true to the spirit of the original recordings. After opening with “Our Prayer,” Wilson moved into one of the highlights of the evening with the kaleidoscope roller coaster ride of “Heroes and Villains,” then pulled out “California Girls” for the crowd sing along. Al Jardine took the vocal leads on “Shut Down” and “Little Deuce Coupe,” then another highlight for the evening was “I Get Around,” one of Wilson’s most endearing compositions. This was a show that mixed in lesser known material, the big hits, and songs from Wilson’s 2015 album No Pier Pressure. Although the album was just released in April, there was no overriding sense that this was a “promote the new product” gig and the new material sounded fine within the context of the career overview.
While at times the set did have an “oldies show” feel and the singing was sometimes strained, it was an enjoyable evening of music and sometimes better than that. When the band performed “Surfer Girl,” the listener could close their eyes and imagine being transported back to 1963 or being removed from the concept of time altogether. “Love and Mercy” was the perfect closing song, a statement from the genius about humanity and compassion. Brian Wilson’s good vibrations are eternal.
Note: Sixto Rodriguez opened the show with a thirty minute well received set, mixing in covers of “Only You,” “Somebody to Love,” and “Learning the Blues” with his “hits” “Sugar Man” and “I Wonder.” He jokingly requested to be treated like “an ordinary legend” and the crowd enthusiastically complied.
Grade – A-
Brian Wilson Setlist:
Our Prayer
Heroes and Villains
California Girls
Shut Down
Little Deuce Coupe
I Get Around
She’s Not the Little Girl I Once Knew
This Whole World
Then I Kissed Her (male version of “Then He Kissed Me”)
California Saga: California
In My Room
Surfer Girl
Don’t Worry Baby
One Kind of Love
Sail Away
Wild Honey
Sail On, Sailor
She Knows Me Too Well
Wake the World
Busy Doin’ Nothin’
The Right Time
Runaway Dancer
Wouldn’t It Be Nice
Sloop John B
God Only Knows
Encore:
All Summer Long
Help Me Rhonda
Barbara Ann
Surfin’ U.S.A.
Fun, Fun, Fun
Love and Mercy
