moe. Takes Residence at Variety Playhouse

moe. played their first of two shows at Atlanta’s Variety Playhouse to an enthusiastic crowd, but they had to wait a bit for the crowd to arrive.

When the doors opened, no more than twenty people were gathered outside the venue. Shouldn’t there have been a line around the corner? Absolutely. But Friday nights in Atlanta equate to Traffic – note the capital T, the highways and back streets jammed with people trying to get somewhere they’d rather be. Like a moe. concert.

Of those waiting, a couple were there with full audio recording gear, ready to stake their claim to the front center of the balcony. Check out archive.org or another fan repository if you’re not accustomed to hearing what used to be “bootleg” recordings of live shows. So it is with “jam bands,” where fans record the show and study the changes in setlists and improvisations as songs are reinterpreted within a tour or from year to year.

As the venue filled, there was talk of the return of guitarist Chuck Garvey, back on stage after a debilitating stroke less than two years ago, requiring significant physical therapy and immense concentration to get his right side, and particularly his right hand, back to doing what it’s supposed to do. No worries. If you go to a show wondering about Chuck, the elephant has already left the room. Maybe he’s not as animated as he was, yet, and perhaps co-guitarist Al Schnier takes a somewhat larger share of the guitar leads, but Chuck had a full share, including a gracious amount of slide guitar with all the right tone and attitude.

It’s difficult to review a jam band’s show. Sure, the music tends towards a feel good mood, perhaps defined as much by the changing percussive rhythms as the band segues from one song to another (drums, marimba, xylophone, congas, etc.) as it does the requisite extended solos – guitars, bass, and keyboards (aced by now permanent member Nate Wilson) – not that percussionists don’t also get the spotlight.

The first set started off strong, with “Prestige Worldwide” and “Jazz Wank,” which transitioned to “ATL” and “Captain America.” It was “only” a six song set, but if you don’t expect a song by a jam band to take at least seven minutes or possibly fifteen, you haven’t heard one. Live, anyway. Other bands may interact with the audience more between songs, but that’s hard to do when the music flows from one song to the next literally without missing a beat.

After a fairly lengthy intermission, the second set began with a very Allman-esque “Hot ‘Lanta,” during which the band seemed to hit their groove. Maybe it was a more even feel to the set, the more active and colorful/psychedelic stage lighting, the bevy of visitors bringing good cheer backstage or possibly a few beverages between sets, but both the band and the audience seemed looser, the latter swaying much more than in the first set. Chuck’s slide guitar was definitely a highlight, particularly on “Brent Black,” but there were plenty of great moments by all throughout. A lengthy intro featuring percussion and bass, for example, yielding to keyboards, guitarists trading licks, etc., but each member of the band had ample space to share their talents and creativity.

“Al’s announcements” prior to the encore were brief, announcing that John Paul, from France, was attending his 100^th moe. show, and that someone from New York was celebrating a birthday. Certainly more cheerful than the daily headlines. And then on to “Mexico” to take the evening into its third hour and send everyone off to an already satisfying weekend… and less crowded streets.