Words Images by: Andrew Bruss
Umphrey’s McGee :: 10.31.14 11.01.14 :: House Of Blues :: Boston, MA
Read Andrew’s review after the gallery…
11/1/14
– Umphrey’s McGee @ House of Blues (Boston, MA) View Photos
Over the course of their two-night run, Umphrey’s McGee ran the gauntlet,
feeding rabid Bostonian Umphreaks a taste of everything they have to offer as an
ever-evolving live act. We documented the first of their two gigs at the House
of Blues as a part of our Halloween coverage, but failing to cover the second night
might as well have meant only writing half an article.
The two shows were very different, but couldn’t have been more similar. Halloween had
costumes and mash-ups galore whereas the second gig was built on almost exclusively
original material…and bassist Ryan Stasik back in men’s clothing. The vibe was
different from night to night, but everyone in attendance on both Friday and Saturday
always saw Umphrey’s being Umphrey’s: tight, technically proficient, expansively
improvisational, professional, but not too serious.
Few regularly touring bands have their finger on the pulse of their audience as
closely as Umphrey’s McGee and they proved it early during their second night on
Lansdowne Street. It seemed as though the sextet knew that following Halloween’s
mash-up freakfest, they had to pump up their audience with a pick-me-up. Both
“Slacker” and “Women, Wine and Song” are two of their most happy-go-lucky party
anthems and playing them back-to-back during the first set went a long way towards
keeping the previous night’s energy flowing.
With two fast-fretting guitarists (Jake Cinninger and Brendan Bayliss), a bassist
with a stage presence that comes easy and a multi-faceted keys player (Joel Cummins)
who knows how to use the right synth, piano or organ line to complete the
composition, a lot of attention is paid to the group’s front-four. That said, their
backfield might be one of the most under-appreciated rhythm sections on the road.
They didn’t perform a single song over their two nights in Boston that would have
been better without the auxiliary percussion of Andy Farag and Kris Myers might be
the single best player in the group. Not to diminish the skills of their guitar
players, but if you were to isolate the sound of each instrument, I’d put my money on
Myers being the one who, independent of his bandmates, would really knock you on your
ass.
Yes, both nights were different from one another, but most fans in attendance both
nights would probably tell you Halloween was the better of the two shows. The
costumes were fun and the mash-ups are something you’ll always be able to brag about
to the Set List Stat Geeks, but the original material of the second set was the
highlight of the two-night run. “All in Time” is one of their oldest, most tried and
true improvisational vehicles and splitting the tune in two, with “Glory,” “Ocean
Billy,” and “Nothing Too Fancy” sandwiched in between was a display of this band on
their A-Game. The solos were articulate and concise. Each tune segued into the next
with a smoothness that made the whole “All In Time” mini-set feel like one long tune,
and MVP Kris Myers laid a beating on his skins that you’d think was meant for a guy
he caught with his wife.
Their Halloween set closed with a Beastie Boys/Ted Nugent mash-up that was true to
the evening’s theme and built anticipation for Night Two. The following evening, they
wrapped up their trip to the hub with a performance of “Gulf Stream” that was
constructed and jammed around as though it was more than the end of a show, but the
end of the run.
Both nights closed on a note that told their audience what didn’t need saying with
words. During “Gulf Stream,” the anticipation factor was tenser, the stakes were
higher, and the release was that much more gratifying. While the Beastie Boys mash-up
was saying, “See You Tomorrow,” “Gulf Stream,” told their audience, “Goodbye and
Farewell.”
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