Ha. Figures I get free time, so I figure why not, right?Also it's an excuse to post my first ever concert review! If you hate this, blame White Thunder who said to do it.
What's the best live show you've ever been too? Music, Theatre, Wrestling? What blew you away about it live that you didn't expect?
For me, it was a bunch of Celtic fiddlers. Seriously, fiddle me timbers! It was great. Fiddle lickin' good, even! Upon learning of the 21-member-strong Fiddle super-group Childsplay, I immediately went about informing all my friends and family about how some of the best fiddlers in the world would be performing in Lexington, Massachusetts. Having no takers, I went by myself.
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it would be...Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle.
What's the best live show you've ever been too? Music, Theatre, Wrestling? What blew you away about it live that you didn't expect?
For me, it was a bunch of Celtic fiddlers. Seriously, fiddle me timbers! It was great. Fiddle lickin' good, even! Upon learning of the 21-member-strong Fiddle super-group Childsplay, I immediately went about informing all my friends and family about how some of the best fiddlers in the world would be performing in Lexington, Massachusetts. Having no takers, I went by myself.
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it would be...Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle.
Well
fiddle me timbers! This was great. Fiddle lickin' good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
Well
fiddle me timbers! This was great. Fiddle lickin' good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
Well
fiddle me timbers! This was great. Fiddle lickin' good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
Well
fiddle me timbers! This was great. Fiddle lickin' good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
Well
fiddle me timbers! This was great. Fiddle lickin' good, even! Upon
learning of the 21-member-strong Fiddle supergroup Childsplay, I
immediately went about informing all my friends and family about how
some of the best fiddlers in the world would be performing in Lexington,
Massachusetts. Having no takers, I went by myself.
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
The location, at Lexington's Masonic Heritage Museum is an intimate one, with a capacity of probably a few hundred, tops. The whole venture was similar. There was a painting of George Washington on the wall posing with his palms outstretched downwards as if to say "settle, settle people, we're here to have a good time, but lets not get crazy about it,". Everyone in the audience seemed to know each other, talking about this guy they used to know or that girl they heard did that thing. Families were dressed in their Thursday evening second best. Clean jeans, polo shirts, and holiday dresses were the order of the day.
At one point a little girl ran up to her dad saying "Dad! Do you have any money? They have Chanukah music!". Come to find out later, Hanukkah (spelled Hanneke) is the name of one of the fiddlers - whether that kid was a superfan or about to be a little confused when she popped that CD into her walkman, I'll never know.
The show starts with a humorous number that I don't dare ruin, save to say that it's something legendary cartoon voice Mel Blanc would be proud of. From there, Childsplay fiddled their hearts out, mixing in original compositions with pieces older than the country I live in.
The fiddles were of course the focus, but the inclusion of a stand up bass, drums, flutes, and vocals added welcome layers to the performance. Those compositions with vocals performed by Lissa Schneckenburger, including the haunting 'Dear Companion' and gut-punchingly relevant 'Leave No Millionaire Behind' were a special treat that kept the show dynamic and fresh. Toss in a wonderful 'handbone' performance by the very-possibly-Santa-Claus Steve Hickman, the occasional piano accompaniment, and dancing from the stunning, gosh-I-wonder-if-she's-single Shannon Dunne, and it was apparent that Childsplay was keenly aware of the one criticism I do have, and were eager to subvert it.
What is that criticism? That after some time, to a layman like myself, the swaying, oscillating notes can start to sound a little familiar. In fact, on more than one occasion they went straight into a second or third song in a set and I had no clue they were playing a different tune, which is forgiven almost as quickly as its thought of because of the musical command the artists on stage have, and the fact that for someone with more musical knowledge than myself, there's likely worlds of difference between the songs that my untrained ear hadn't noticed.
If I had to sum Childsplay up in one word, it wouldd be: Precision. At one point, I took notice of the fiddle sticks swaying back and forth in perfect unison. Up and down, all together. Up and down a little less. Up and hold. All together, all at the same time. If you closed your eyes you'd think you were listening to a CD that had been produced and tweaked to perfection by a producer. But no. It was all there, all live, and flawless.
Fiddle music, or as I like to call it violin without pretension, is something I imagine most folks have a passing interest in - they enjoy it when they hear it, but don't spend a lot of time seeking it out. The kind of tunes that you'd hear at a medieval festival like King Richard's Faire, or during a party scene in a historical or fantasy film like Titanic or A Knight's Tale or The Lord of The Rings. Seeing it live makes you want to seek it out.
Considering my own musical tastes lie in the world of the pop-rock stylings of Barenaked Ladies, Bowling for Soup, and Fountains of Wayne, the offensive-but-near-genius output of Eminem, and Kid Rock's once rap, once rock, now country-rock deep tracks, I was unsure how this music I'd never heard live, that didn't have lyrics, would grab me. So of course It grabbed me with both hands and wouldn't let go. Childsplay now goes onto my various playlists along with James Taylor as the music I'll enjoy while thinking or writing or getting stuff done. It energizes your subconscious while forcing you to tap a single toe or all five.
The best compliment I can give Childsplay is that it made me nostalgic for a time I would truly hate living in. A time before my precious laptop and fancy iPhone, a time when you cooked your own food and milked your own cow, when the idea of a harvest well done involved a barn, a few hay bales, a keg of ale, folks on the fiddle, a guy slapping his knees to keep the beat, and if you're lucky, a pretty lass or two dancing to the tunes until their legs grew tired, at which point someone else would step in, keeping time.
For all our MP3s, Youtube music videos, concert festivals, and streaming 'Pandora' radio options, nothing feels quite like this show did. The fullness of the sound, the laid-back atmosphere, the dancing, the mutual gratitude between audience and the performers - it touches your soul in a way that only the best live music does. I'm not kidding when I say if I had to choose between seeing Child's Play or The Rolling Stones (whom I saw earlier this year) again, I would choose Child's Play. ...As long as they promised to play The Devil Went Down to Georgia. ...With a golden fiddle. - See more at: http://bostoneventsinsider.com/2013/12/review-fiddle-virtuosos-childs.html#sthash.fD3Lm961.dpuf
Rammstein.
ReplyDeleteI saw most of the original cast of "Rent" in NYC. Don't judge.me.
ReplyDeleteWhy did Disqus autocorrect a URL into my post?
ReplyDeleteI know all the words to rent. It's gotten me laid 3 times. Light my Candle gets every woman, ever, into the mood.
ReplyDeleteNick Cave and the Bad Seeds this past March ranks #1 for me....Metallica shows make up most of the rest of my top 10.
ReplyDeleteBecause HHH.
ReplyDelete/thread
ReplyDeleteGood question...gotta ponder it for a second. I saw the Mike Tyson monolog thing a few months ago in Tampa. It was fucking fascinating. Not the best thing ive ever seen live since its literally him just talking and telling stories, but riveting stuff
ReplyDeleteMusic: Foo Fighters two years ago. Not only did they play for 3 hours, but that Dave Grohl fellow knows how to put on a show.
ReplyDeleteWrestling: Surprisingly, it was TNA two years ago also. Not only was I able to get second row for 50 bucks, but it included various meet and greets and deals. Say what you want about their booking, but they take care of their fans when it comes to that kind of stuff. I didn't even mind the fact they didn't even fill half of the venue.
Concerts:
ReplyDeleteNine Inch Nails/Jane's Addiction, 2009, Phoenix, AZ
Slipknot/Slayer/Motorhead/Anthrax/As I Lay Dying, 2012, Denver
Queens of the Stone Age, 2013, Red Rocks, CO
Tool, 2009, Phoenix, AZ
Nine Inch Nails, 2013, Broomfield/Denver, CO
Deftones...every fucking time
Best music show was seeing Alice Cooper live
ReplyDeleteBest wrestling is Boarder Wars 2012 were Kevim Steen won the roh title
Wrestling: I've been to Wrestlemania 2000, SuperBrawl IX, Nitro in '99, Smackdown in 2000, Thunder in '98. Wrestlemania by default, even if it was a bit of a letdown historically
ReplyDeleteThat's good to hear. Metallica is basically the last left on my bucket list and I've heard a lot of disappointing things about their live shows.
ReplyDeleteMusic: Probably seeing the Violent Femmes headline a 90s alternative rock festival in Milwaukee, Wisconsin. I had seen them a couple times before, they are from Milwaukee and all, but this show was a sold out amphitheater with the local crowd so into it. Was the best concert atmosphere I was ever at, everyone knew every song and it just rocked so hard.
ReplyDeleteWrestling: The first MLW tapings in downtown Orlando. So many great wrestlers I hadn't seen in person before were there and I somehow managed to end up right along the barricade alongside the ring. Jerry Lynn vs Paul London was an amazing match to see in person and watching Tyson Kidd moonsault off the balcony is unlike anything I've ever seen before in person.
Seeing Blue Oyster Cult in 1999, although not all the original members, was both epic and memorable. I saw Megadeth on the Rust in Piece tour. Dave Mustaine is amazing live and it was a really fun outdoor concert, plus Rust in Peace in its entirety was fantastic. Also worth noting that I saw Hatebreed at a very small club as a one off show. It was insane, people were getting carried out of there unconscious. I actually Razor Edged someone into a crowd surf. I'm sure there are others, I wish I got to go to more.
ReplyDeleteMusic: Pearl Jam played 3 shows in Boston in 2000 where they did not repeat a single sing. There was also an hour-long acoustic pre-set before the third show. I had been in the Ten Club (PJ fan club) for about 5 years at that point, which meant I was able to get seats within the first 3 rows for all three nights. I've probably been to other shows that were more fun, but I was a Pearl Jam dork back then and this was 3 days of bliss. My voice was shot for at least a week afterwards.
ReplyDeleteWrestling: I was at the RAW after WM14 where X-Pac and the Outlaws joined DX and Austin stunned McMahon and got taken out in handcuffs. It was my first time watching any WWF show since early 1996, and Austin and DX were the coolest things I had ever seen. What a great time to be in junior high.
Holy shit that is one of my favorite episodes of Raw. Xpac was the fucking man that night.
ReplyDeleteTheir tone sucks now. They got away from the "scooped" raw sound that made the first records so great. Playing the older songs with the newer settings ruins them.
ReplyDeleteAt Raw when Austin got named by Linda McMahon as co-gm with Bischoff....whenever that was. Biggest pop I've ever heard live.
ReplyDeleteI was at the Nitro in April of 2000 where they rebooted everything. You think it was trippy on TV, imagine seeing it in person.
ReplyDeleteOther wrestling shows I was at: a ton of Nitros and one RAW, Spring Stampede 1998 and Vengeance 2003. We don't get a ton of live stuff here anymore which is sad.
I've only ever been to one real concert and that was Pantera in 2001. I'm just not much of a concert guy, I guess.
And by here I mean Denver.
ReplyDeleteI saw Foo Fighters on LSD
ReplyDeleteI saw Green Day on mollys
I saw Pearl Jam on shrooms
My top 3 favorite concerts ever.
Imagine my surprise when one of my buddies turns to me and tells me that's the 1-2-3 Kid.
ReplyDeleteI also vaguely remember the debut of the Ringmaster, and believe it was one of the things that made me think wrestling had gotten too lame to continue watching it. I was in 6th grade at that point, and 2 years later I'm seeing Stone Cold at the height of his popularity. That one really shocked me at the time.
Actually gotta share that Danielson/Teddy Hart match: http://youtu.be/G3PgawGL61E
ReplyDeleteTough call. Sentimentally I'd say it was the first Tibetan Freedom Concert back in high school. Musically, Bad Religion in Lawrence, KS last April. But the best pure crowd atmosphere was definitely Streetlight Manifesto in Atlanta last month. Never been a part of anything like that.
ReplyDeleteSummerslam 2013, just edging out WM21, because the pop for Bryan all night was NUCLEAR
ReplyDeleteOh, and for wrestling the obvious choice is WM last year at the Meadowlands. Not the greatest show, but still a bucket list item.
ReplyDeleteThose Tibetan Freedom Shows were always pretty good. I had some compilation CD in high school and it was one of my favorites discs.
ReplyDeleteI saw my first WWF house show in September 92. It happened right after Ric Flair regained the WWF Championship from Randy Savage. The main event was The Undertaker vs. Ric Flair for the title, along with an undercard that had Savage vs. Razor Ramon, and Bret Hart against Papa Shango. There were pops for everybody...even Virgil!
ReplyDeleteMusic: the first time I saw "Weird Al" Yankovic live. I know, it's not ground-breaking stuff, but I had loved him since I was a kid and I was a giddy fan boy for months beforehand. My friends and I got front-row tickets, and I felt like I was in heaven. When Al threw a glass of water on the audience during "One More Minute" (well, not the glass itself, just the water) and a drop landed on my hand, my teenage self could have died right then.
ReplyDeleteWrestling: no question, the Canadian Stampede PPV. It was a bit marred for me, because the day before I was in an accident and my first car was totaled, so I was still in a rotten mood. Then at one point my friend and I held up our sign and a dick behind us shoved me down by the head, telling me there were people behind us and calling me a fucking asshole--since I was still upset from the accident my friend had to keep me from fighting him (and I would have lost, since I'm kind of a wimp). But the atmosphere at that show with the huge pops for every single hart Foundation member felt incredibly special, and when they got to Bret I thought the roof was going to blow off.
Other: I've seen Penn & Teller in Vegas twice, and I would go again in a heartbeat. It's fabulously entertaining from start to finish, and I got to meet them both in the lobby afterward--they're both very friendly and funny to everyone, no matter how many people are there.
Yeah! I've heard Weird Al is simply wonderful live. He's one of these people that seems genuinely amazed at his success, and loves to give back.
ReplyDeleteMusic: either AC/DC in 2002 or Andrew W.K. this past October. Both shows I got to see for free due to some friends entering & winning contests (hooray for plus ones!) - AC/DC were playing because they were going into the Rock & Roll Hall of Fame, & Andrew W.K. was playing with Marky Ramone's band, doing nothing but Ramones songs. Fucking spectacular. Probably even better than seeing the real Ramones would've been, seeing as W.K. isn't afflicted with the same crippling anxiety issues Joey Ramone had.
ReplyDeleteWrestling: probably the Ring of Honor show in Philly where they taped the Nigel/Danielson match for Driven. We'd decided to drive to PA the day before on a whim, & it was shaping up to be a pretty good show even before that match. They surprised us, too - at the beginning of the night they said Danielson was "injured" & couldn't compete that night, so when they announced they were taping a match for their next PPV & "the Final Coundown" hit the crowd went nuts. If not that, it'd be attending RoH's first PPV Respect is Earned. Great seats right on the edge of the balcony. Haven't seen too many WWF/E events live - I accepted the fact a long while ago that I'll probably never go to a Mania.
Other: got to see George Carlin twice before he died, that was pretty sweet.
Oh yeah, I got to see him at our local fair years ago and had a blast, esp. since his encore song was "Yoda".
ReplyDelete1. WrestleMania X7
ReplyDelete2. WrestleMania XIX
3. Metallica
4. WWE No Mercy 2008
5. WWE house show Met Center May 1988
I don't like to pay over thirty bucks for concerts if I can help it, but Weird Al is one of the few times where I'll make an exception. His stage show is insane - costume changes every couple songs, ALTV skits, army of Stormtroopers comin' out for the encore... plus, he's started to close the shows with "Albuquerque!"
ReplyDeleteWrestlemania XX, I cried for several minutes from the moment HHH tapped until Benoit was in the ring with Eddie, then with his family.
ReplyDeleteConcert The Misfits circa 2006. Awesome show in a small venue with a super amped crowd and fantastic mosh pit. Fuck everyone who says they need Glenn Danzig.
Music - Black Crowes 05/05/05 for the return of Gorman. Dylan in 2002. Rancid in a venue of about 500. Black Lips at Terminal West. Walkmen at the Earl. Radiohead on the Hail to the Thief tour. Arcade Fire at The Woodlands in Houston. Metallica without James Hetfield.
ReplyDeleteWrestling - Nitro when Goldberg won the title.
But the 2 shows I think I enjoyed the most were both comedy. Paul F Tompkins doing his Labour Under Delusion material and Louis CK on the Word tour. Both were face numbingly funny.
Agreed. Seriously my most treasured Wrestling moment. The 'little guy' did it, ya know?
ReplyDeleteI see. Good to know. Metallica is one of those bands where I don't really need to hear anything past about "Load", so I would really just hope to hear the old stuff anyway. Other bands, like Deftones, NIN, Tool, QOTSA, I love hearing the new stuff just as much as the old. All personal preference, for sure, but Metallica would be a total "play the old shit!" kind of experience for me.
ReplyDeleteI *love* that song. Trapped in a Drive Thru is a close second in terms of over-long ballads by him.
ReplyDeleteI really want to see them live.
ReplyDeleteI have two.
ReplyDeleteIn 2008, I went to see No Mercy in Portland with my friend. It was such a blast. We were lucky enough that the show was jam packed with good matches, including that awesome HHH vs. Jeff Hardy match where Hardy came within inches of winning the title. But the best part of the show was definitely the HBK/Y2J ladder match. Seeing two men fall off ladders on TV is one thing, but in person it is quite another. It's still one of my top 10 mathces, and probably still would be even without the sentimental value of seeing it live.
Then this year I went to see the Metal Mayhem festival in Auburn, WA with my cousin. Most of the opening bands were shit, but the first band we watched was a band called Huntress and they blew us away. Then we just sort of hung out until Machine Head played, which was a blast. I hate their albums, but they are such a great live band. When the main stage finally opened up, we watched Mastodon, Amon Amarth, Five Finger Death Punch and Rob Zombie. Mastodon bored us to tears, but gave us a much needed breather. AA kicked ass. They had a giant Viking ship as their stage setup and their lead singer looks like an actual time displaced Viking. 5FDP isn't my type of music, but they were fun enough to keep us entertained with their stage antics. But Rob Zombie made everything before look like child's play. His stage show was amazing, his songs were even better live and he just has so much charisma that it's impossible not to have fun when he is on stage. I am definitely going back this year.
This is going to sound ridiculous, but one of the most fun live show experiences I ever saw was Paramore, say what you will about how "corporate" they are but Hayley Williams is an incredibly charismatic performer.
ReplyDeleteBut that was an arena show, the best club show I've ever been to was seeing Turisas and Firewind, I was right in the fucking front and I got spit on by a crazy Finnish Metal Keyboardist...it was a two hour set for Turisas and it was super fun.
Not sure if he still does it, but I've seen him live three times now and his encore is "Yoda" every single time, including the bridge that he and his band work in (it starts with the "Boom shaka laka" part, and it's a blast to watch them pull it off).
ReplyDelete