He’s also a consummate performer (his concert in 2001 was one of the best and most memorable I’ve ever seen to this day) and a very genuine person as well.  In fact, the word ‘truth’ appears in more of his songs than any other word I can think of.  Important words, I mean, not like ‘the’ or something.  You know what I’m saying.  Anyway, here’s an interview I came across that really captures his spirit well, I think.  It’s from a dopey Australian comedy show, and the host plays him a dopey song that he’s been working on, and he asks for Neil’s opinion and some advice on how to improve it.  The ‘money shots’, at least for my money, are of the slightly uncomfortable look on Neil’s face as he’s listening and trying to figure out what in the world to say.  But the bits about ‘being in the moment’ are just so dead-on and earnest.  It just shows how real, how funny, and how intelligent (not to mention talented) Neil is, even in a ludicrous setting like this.  He appears about two minutes into this clip, so you can feel free to snooze through the rest of it until then.

In a more serious mini-documentary/interview called “A Good Tune Is Always In Short Supply,” he goes into great detail about his process of songwriting, and even lets us in on his secret formula.  I’ll post Part One here, and if you’re interested, Part Two is easy enough to come by.

I’m posting the link to the article here because I want to be able to revisit it every so often, in the dark times, to renew my inspiration.  If you’re interested in music, and movies, and twentieth-century pop culture, I think you’ll appreciate this article.

Enjoy!

The crowd seemed to be most appreciative when something outside the realm of NormalRockBandLineup happened, such as when Yann played his violin.  He launched into Sur Le Fil, a solo violin piece, to thunderous cheers and applause.  I think after the long jams, we were all excited to hear something recognizable, and something we associate with the best of Yann’s musical abilities.  As a multi-instrumentalist myself, however, I certainly know all too well about the hassle of carrying around a truckload of weird, fragile, unruly (not to mention large) instruments in a car and a plane and a van and a trailer.  I can only imagine what it’s like to do that for months on end.  But accordions and mandolins are relatively small.  Jeez, Yann, you could have at least brought one of those, or maybe you can find a backup guitarist who also plays something else besides guitar?  I hereby volunteer my services to you.

I certainly wasn’t bored or disappointed with the show in any way, but I would have loved to hear at least a little bit of accordion, or piano, or something.  What I love most about Yann is that he’s a composer and not ‘just’ a rock band.  Or maybe it’s that he can be a rock band if he wants, but he’s so much more than that.  This was a very good rock band, but it was still a rock band.  I would have gladly shelled out much more money to see him at PCPA with a more eclectic instrumental lineup.

The things that did disappoint me about the show had nothing to do with Yann or his band.  First of all, there were signs everywhere at the venue saying “NO PHOTOGRAPHY” and everyone was told at the door, “No cameras, and no camera phones. ” This policy was strictly enforced, too, because I saw the staff guys wearing fanny packs that were stuffed with contraband cameras, and I heard him say to someone, “You can’t use your camera.  It’ll be confiscated.”  Well, crap, I thought, and dutifully left my camera in the pocket of my hoodie for the entire show.  Therefore, I have no photographic proof that I was there, which is a shame too, because I was standing in a really good spot.  Le sigh.

I had two friends come to the show, one of whom I had given my extra ticket to, but both arrived later and were unable to find me, so that was disappointing.  The good thing, I guess, is that I was able to pay more attention to the performances, but it would have definitely been nicer to have company.

The tour T-shirts wouldn’t have looked good on me, and I already own all the CD’s, so I came home empty-handed and a bit heavy-hearted to have missed out on my friends, but I was supremely glad to have seen the perfomance of a true musical genius who I never imagined I’d have the chance to hear in person, especially not without a great deal of traveling.  The Wonder Ballroom is about ten minutes’ drive from my place.  And I’ve had the opportunity to play there, too, so I know what the backstage area and everything is like.  I imagined Yann sitting on a sofa in one of the green rooms in the basement, warming up on his violin.

Here’s a picture from the previous night’s show in Seattle, which another of my friends took with her camera phone.  Apparently they didn’t have the same anti-photography regime in place, or if they did, she was able to circumvent it long enough to snap this one shot.  Anyway, here it is.

Incidentally, Yann’s the one with the longish hair, just to the right of center.

It was a really great show, overall, and I’d recommend that you take any chance you can get to see Yann.

I’m super excited about this.  Asobi Seksu is the opening act.

GOOD TIMES.

She won, by the way, but it was really close.  330-something to 314.  There will be a rematch, but I’m not sure when, since we won’t have a chance to hang out again before her wedding, and then of course she’ll be going to Canada for another ceremony with her family and then back to Switzerland, where she lives.

A couple more nights of rehearsals followed, and then I headed up to Seattle on Friday to play bass with my friend Brandon’s classic rock band.  Super fun to play and hang out with him again.  In the morning we went to breakfast and then I raced the three hours’ drive home to Portland, in order that I’d be back to set up for the IrishBand show at 4:30.

The show was a complete blast.  It featured a pair of dancers, an aerialist, a ukelele player, a sword swallower/fire breather, a martial arts/juggling/comedy group (Nanda; check ‘em out.  They’re the coolest group ever, I promise you.), then IrishBand finished up with a set.  Oh, and then there was dancing for an hour or so after that.  It was a great time.  I’m not even going to attempt to describe everything, cause it would take too long, but my modus operandi is that if people do cool things in front of me while I’m holding a camera, it’s my duty to capture those moments.  Behind the scenes is where the real show always happens, anyway.

After partying for a few hours everything was set up and ready, we went out front and mingled a bit.

This picture is fuzzy (or was it just me?  har har) and terrible as far as quality goes, but at least you can get a sense of what the people and the main room were like that night. . .

. . .and then I handed my camera off to Whit, who took some pictures of the actual event while I climbed upstairs and sat in the balcony with the rest of IrishBand to stay out of sight of the audience and watch the show.

After Nanda were finished, we set up and rocked the house for about an hour.  Oh yeah. . .and then I danced.  Yes, believe it or not, it’s true.  I did some moonwalking (both forwards and backwards. . .dang right!) and a whole bunch of ‘normal’ dancing too.   A good time was had by all.  Those of us who were left at the end of the night had the pleasure of helping clean up the place and empty all of the risers and seats and everything out of it by loading them into trucks, but even that somehow ended up being a good time.

In other news, I’m going to see Yann frickin’ Tiersen (you know, who wrote the frickin’ Amelie soundtrack!) on Wednesday night here in little old frickin’ Portland.  And he’s not even playing at a huge venue, either, but the frickin’ Wonder Ballroom, which has about a 400-person capacity, and where I MYSELF HAVE PLAYED.  I can’t even begin to tell you how excited I am about this.  I play the accordion because of him.  It’s true.

Le sigh.

I’m kind of obsessed with a show he did for the BBC called Connections, which had its first incarnation in the 1970′s, but had two later incarnations in the 1990′s as well.  I saw the 90′s versions when they originally aired, and was mesmerized by them, so today I went back and found the original series online, and I’ve been slowly but surely watching them.

They’re all about various inventions that have changed the history of civilization as we know it, but his masterful storytelling makes each episode like a mystery, where we only know have as much information to go on as people at the time did.   He starts by showing us the modern invention, and takes us clear back to the beginning, showing us the salient points of progress that happened along the way.

It’s really brilliant.

Here’s the first part of the first episode of the first incarnation of the series.  I have no doubt that you’ll find them riveting as well.

If you’re not familiar with the show, Nathaniel is the dead father (That’s not a spoiler, don’t worry; his death happens in the very first scene of the very first episode) and David is the younger of his two adult sons.  Nathaniel’s apparition appears to David after a particularly traumatic experience that David endured in a previous episode, which would be a huge spoiler if I revealed it here.

Nathaniel Fisher: You’re missing the point.
David Fisher: There is no point, that’s the point.
[pause]
Isn’t it?
Nathaniel Fisher: Don’t give me this phony existential bullshit, I expect better from you.  The point’s right in front of your face.
David Fisher: Well, I’m sorry but I don’t see it.
Nathaniel Fisher: You’re not even grateful, are ya?
David Fisher: Grateful?  For the worst fucking experience of my life?
Nathaniel Fisher: You hang onto your pain like it means something, like it’s worth something.  Well, let me tell ya, it’s not worth shit.  Let it go.  [to himself] Infinite possibilities and all he can do is whine.
David Fisher: Well, what am I supposed to do?
Nathaniel Fisher: What do you think?  You can do anything, you lucky bastard, you’re alive!
[pause]
What’s a little pain compared to that?
David Fisher: It can’t be so simple.
[pause]
Nathaniel Fisher: What if it is?

What if it is?  What if it is that simple?  Nice to be reminded every once in a while.