Forty Years into Her Career, Patti Smith is Still Bewitching: Review and Setlist 5/5/13

Forty Years into Her Career, Patti Smith is Still Bewitching: Review and Setlist
Jaime Lees
Patti Smith
Contemporary Art Museum
May 5, 2013
It’s an emotional thing, seeing Patti Smith. I’ve seen her perform a bunch of times, and every time I’m shocked by my own intense reaction. I know that I usually get all sentimental and weepy when she starts singing, but this time I was blinking away tears as soon as I saw her face.
Why does this happen? It’s weird; I’m not usually so sappy. I think it was a combination of many factors: the small room was crowded but cozy, the audience was humming with excitement, I was flanked by great friends and, well, she was right there. As far as I’m concerned, this woman is nothing short of a goddess. I can think of no other person who has been so equally and immeasurably important to both rock music and the written word, and those are the two things that I love the most. And something about her touches me so deeply that I can barely even acknowledge it without feeling freaked out.
She’s nearly 40 years into her career, but Smith is still bewitching. She clearly knows about her singular power to enchant and she worked her little rocker-poet-goddess-shaman thing all night. She entered the room to great applause and flashed her famously sweet, yet mischievous smile. Her performance was a combination concert and poetry reading and Smith slides easily between the two formats. It is here that you can witness the interconnectedness of her work: she can read a poem, tell a story about it and then sing a song she’s written about the subject.
Smith was joined onstage by her long time bandmates and trusted collaborators, Tony Shanahan and Lenny Kaye. Kaye played guitar and Shanahan accompanied her on guitar, bass and piano. Both men stood quietly and respectfully as she read from a few of her books and also sang backup during songs as needed. The amount of talent on that stage was overwhelming when all three played and sang together — I consider myself lucky that I had a hand to hold as Shanahan pounded out the first dramatic notes of “Pissing in a River.”
It wasn’t all heavy stuff, though. Smith kept the mood light between songs with her funny stories and easygoing nature. At one point she stepped back from the microphone, made a funny face and then returned to ask, “You ever have one of those burps that won’t come out?”
Smith’s performance also included numerous compliments to St. Louis. She referenced our own William Burroughs multiple times, commented our buildings (“This city has beautiful architecture. It’s the kind of architecture that reoccurs in your dreams”) and she improvised a little STL love at the beginning of “My Blakean Year.” (“The tour bus pulled into St. Louie / Where I was thinkin’ of William / And the Courtesy Diner…”)
Smith ended the night with “People Have the Power” and dedicated the song to her “late and great husband, Fred ‘Sonic’ Smith” of the MC5. She said that they ended up working on the song together after he walked up her one day at home and said, “Patricia, people have the power. Write it.”
At some point during the show, my friend leaned into my ear and whispered this: “You know what’s great about her? She’s humble. And she doesn’t have to be.” Yes. Exactly. She doesn’t have to be humble at all. But it sure is nice. Smith stayed after the show to autograph books and records.
Setlist:
- “Wing”
- “My Blakean Year”
- “Peaceable Kingdom”
- “Pissing in a River”
- “It’s a Dream” (Neil Young cover)
- “Because the Night”
- “Ghost Dance”
- “People Have the Power”
Patti Smith – Critic’s Pick

Patti Smith
7:00 p.m. May 5
Contemporary Art Museum St. Louis
3750 Washington Blvd.
St. Louis, MO 63108
It’s fitting that Patti Smith’s first performance in St. Louis since 2004 is at the Contemporary Art Museum. Though she is best known as the reigning “Godmother of Punk,” Smith’s genre-defying career has no boundaries when it comes to art and expression. Smith’s groundbreaking debut album, Horses, came out in 1975 and it is still hailed as one of the greatest albums in music history. Ten albums and nearly 40 years later and her career is still going strong. But Smith is not only a rock heroine, she’s also a poet and an artist who explores and produces in many different kinds of media, including painting and photography.
— By Jaime Lees
link: Riverfront Times
Bob Dylan – Critic’s Pick

Bob Dylan
7:00 p.m. April 23
Peabody Opera House
14th St. and Market St.
St. Louis, MO 63103
He’s the celebrated poet-laureate of rock and roll, but Bob Dylan’s credits extend beyond his trademark cadence and twisted wordsmith skills. With a career spanning five decades in the public eye, Dylan is king to not just his contemporaries, but nearly every singer-songwriter since. From scruffy underdog to lauded international pop icon, Dylan is more than just a simple protest musician who famously dared to “go electric” at a folk music festival; he’s the gold standard.
— By Jaime Lees
link: Riverfront Times
One More Time: A Tribute to Daft Punk – Critic’s Pick

St. Louis electronic music fans are hungry for a hometown Daft Punk live show. The duo would do well here; the French house pioneers’ special brand of synthpop-based party tunes are as universally appealing as our beautiful Arch. But we Mid-westerners are a resourceful people: If we can’t have the real thing, we’ll have a tribute night, with “anthems, remixes and club bangers” from local favorite Coreyography and more.
— By Jaime Lees
link: Riverfront Times
IO Echo – Critic’s Pick

IO Echo
8 p.m. Tuesday, April 9. The Pageant, 6161 Delmar Boulevard. $30 to $35. 314-726-6161.
Gothic music gets a bad reputation. Most people think that goth bands are hateful, harsh and ugly, but bands such as IO Echo show the other side of goth: the romantic side. IO Echo is more like flowers and velvet than black eyeliner and combat boots. Yeah, it’s dark, but it’s dreamy, too. The band’s shoegaze-y atmosphere is a great contrast to singer Ioanna Gika’s vocals. Her clear, classically pretty voice cuts like a light beam through the distortion fog, reminding you that this might be gothic, but it’s still modern-gothic, via sunny Los Angeles.
—Jaime Lees
link: Riverfront Times
Justin Timberlake’s 20/20 Experience: Don’t Feel Guilty About “Guilty Pleasures”

Fuck me, I am going to overdose on this new Justin Timberlake album.
I know that I’m supposed to be ashamed of certain selections in my album collection. I know this from all of the times that people have looked through my CDs or records or iTunes and been all, “Hey, what’s this doing here?” before handing me, say, a Carpenters album or some weird movie soundtrack and calling it my “guilty pleasure.”
Everybody seems to be hung up on some kind of notion that the music you like says something about you, that it makes you a certain kind of person. How boring and closed-minded and, well, teenagerish.
Do you know what my music says about me? Nothing. At the most, it says that I like good tunes, because I think the stuff that I own is all good tunes. But I feel zero guilt over any of the music that I enjoy and you shouldn’t, either.
As a music writer, people usually assume that the “bad” in my music collection got there because somebody sent it to me for free or because I had to write about it or something. Nope. Most of that “bad” stuff is there because I bought it myself with cash money dollahz.
I think that, for the most part, the pop music you like isn’t a representation of your personality. It can’t be. As a matter of definition, pop music is popular and loved by millions. That’s one of the great things about pop music: It subtly provides opportunities to cross boundaries and engage with others who are unlike you because you have something in common. You can meet someone on the other side of the planet who speaks an entirely different language, but you can still manage to bond with them over the magic of Michael Jackson.
I have one exception to this universal love-fest. I will openly admit to a prejudice against diehard U2 fans. I just don’t understand it. And while I hate everything about the bloated, pompous beast that is U2, I still like a few U2 songs. I mean, damn, you can’t argue with “One.” That song is perfect.
So you don’t get to decide what you like, you just like it. That’s it. (Trust me, if I could find a way hate “One,” I’d be way stoked.) Instead of being weird or bashful about it, celebrate your personal diversity. Don’t like certain songs or bands in an “ironic” way. Who has time for that? And don’t justify or feel like you have to defend or explain your potentially embarrassing favorites. Just go on liking them and tell all haters to step off.
For example, I don’t know how may times I’ve had to explain to somebody that, no, I actually really like Taylor Swift. Sure, sometimes I dig Swift in a very detached way, like when I’m analyzing her fame or her success. But usually when I’m listening to T-Swiz, there’s not much cerebral action happening: I’m just another dumb broad rocking out in her car. I’ll be all singing along and thinking about boys and making exaggerated arm gestures while driving down Highway 44 and loving it.
I’ve heard time and time again that my taste in music is very confusing. Like, I really love Tool, but I also love Mary Chapin Carpenter. (I can roll from “Hooker with a Penis” to “Passionate Kisses” without blinking.) And I’ve always had a love/hate relationship with Veruca Salt, but Nina Gordon’s solo album is just as likely to get played as Minor Threat. And at my house, music listening decisions come down to things like Neil Young vs. Britney Spears all of the time.
Am I really supposed to be ashamed of this? All of this stuff is good, yo.
There is only one album in my entire collection that makes me cringe every time I see it. It’s Tori Amos’ “Crucify” single. I hate the sight of it, but not because I’m embarrassed that I own it: It’s because I really can’t stand that woman’s music, her earnestness or my memory of that nasty pig sucking her breast. But I’m a Nirvana completest, and that particular CD contains her hilariously snobby, overly pronounced cover of “Smells Like Teen Spirit.” Whenever I’ve played it, it’s become an instant favorite among any friends with a sense of humor.
So, damn, don’t take your music taste so seriously. And don’t analyze or complicate your instincts. If it has a good beat, dance to it. Just like what you like, and don’t worry about bullshit labels like “guilty pleasures.”
And, for the love of God, give that new Justin Timberlake album a spin. It’s totally good, I swear. Like, actually.
Now go bump this and don’t feel guilty at all when it owns you:
link: Riverfront Times