Friday, July 28, 2017
I knew a man some years back, his name was Jimmy, "Crazy Jimmy." He Had served 28 years on his 25-to-life sentence. When eventually he made parole, they say he hit the bricks and was dropped off at a tiny bus stop, where he must have stood with his $25 check and state-issued Brogans before he decided to walk down the street to a tavern that cashed his check and poured him shot after shot of their cheapest whiskey until he walked a block up to a convenience store, took a rifle from the clerk and managed to fill his jeans with about $170 before the Florence Police arrived and, after a scuffle, put "Crazy Jim" into the back of their squad car.
"Have Mercy on The Criminal" is a song by Elton John and lyricist Bernie Taupin. The album cover from which the song originates bears a picture of a small cinema with a couple standing beneath the marquee, which reads, "Don’t Shoot Me, I’m Only The Piano Player starring Elton John."
For all intents and purposes, Elton's life, his fame and his fortune, were like a movie of his own making. Fresh off co-starring in Ringo Starr's doc on pal Marc Bolan, Born to Boogie, which featured sold-out Wembley Stadium concert footage and a hodgepodge of wannabe-Fellini-bits, but also John playing for Bolan in a piano rave-up worthy of Liberace and Jerry Lee Lewis.
Later that year, still riding high on his success of his smash "Rocket Man," "Have Mercy on the Criminal" was a slow-burn, thick with rolling waves of electric guitar a la Clapton’s riff in "Layla" and the less-is-more school of drummer Nigel Olsson (dig his sparse tom-tom strikes and tightly stretched snare-drum crack), all engineered by pro Ken Scott. As Elton sings Taupin’s earnest lyrics about an escaped convict "with a mother in his eyes," running from the warden and his devil dogs who are "out to kill." The yearning and distress in Elton’s voice and melody, from the time I first heard it in 7th grade to right now, to me, is testimony to his truest talent. And it's all bound by Paul Buckmaster’s fiery string arrangements.
"Have Mercy on The Criminal" is a song by Elton John and lyricist Bernie Taupin. The album cover from which the song originates bears a picture of a small cinema with a couple standing beneath the marquee, which reads, "Don’t Shoot Me, I’m Only The Piano Player starring Elton John."
For all intents and purposes, Elton's life, his fame and his fortune, were like a movie of his own making. Fresh off co-starring in Ringo Starr's doc on pal Marc Bolan, Born to Boogie, which featured sold-out Wembley Stadium concert footage and a hodgepodge of wannabe-Fellini-bits, but also John playing for Bolan in a piano rave-up worthy of Liberace and Jerry Lee Lewis.
Later that year, still riding high on his success of his smash "Rocket Man," "Have Mercy on the Criminal" was a slow-burn, thick with rolling waves of electric guitar a la Clapton’s riff in "Layla" and the less-is-more school of drummer Nigel Olsson (dig his sparse tom-tom strikes and tightly stretched snare-drum crack), all engineered by pro Ken Scott. As Elton sings Taupin’s earnest lyrics about an escaped convict "with a mother in his eyes," running from the warden and his devil dogs who are "out to kill." The yearning and distress in Elton’s voice and melody, from the time I first heard it in 7th grade to right now, to me, is testimony to his truest talent. And it's all bound by Paul Buckmaster’s fiery string arrangements.
Tags: Elton John , Marc Bolan , Billy Sedlmayr , Bernie Taupin , Ken Scott
Thursday, July 27, 2017
Eager passengers gathered under dark, threatening clouds at Mercado San Agustin station, early Saturday evening. It was a celebration—a moving one too thanks to Jimmy Carr and The Awkward Moments—to commemorate the third anniversary of Tucson’s modern streetcar (Sun Link). (Since its July, ’14 launch, the streetcar has provided approximately 2.93 million rides to passengers.)
Once everyone that could possibly fit onto the streetcar was loaded, the tram departed. The affable Jimmy Carr addressed the audience with a handheld megaphone, that he also used for singing, before he cued into action The Awkward Moments. (Violinist Samantha Bounkeua, brothers Tony and Dante Rosano on sousaphone and trumpet, Hillary Engle and Javier Garcia on drums and percussion, Erin Henderson on kazoo and vocals, guitarist Johnny O’Halloran, and Carr on accordion and vocals.) Mixing Carr’s gruff blues vocals with the sounds of gypsy jazz, americana, klezmer, classical and elements lifted straight from the high-school marching band of Anytown, USA, the sound landed somewhere between Gogol Bordello and Slavic Soul Party.
Beloved by Tucsonans, renowned for their improvisational dexterity, fans called requests, which Carr tried to accommodate—at least for a few bars—whether his heady combo band knew the song or not. According to Carr, “The band started on the streets of Tucson busking for beer money.” The group began with O'Halloran on saw and Carr (a Fat Possum Records session man) on accordion and vocals.
By the time the crammed, music-filled streetcar hit downtown, Tlaloc, the Aztecian god of rain, shook his rattle. By the time the tram reached UA’s Main Gate Square, where the band disembarked to continue the revelry inside Gentle Ben’s Brewing Company, the rain was pissing down in sheets.
Bounkeua tells Tucson Weekly of the streetcar experience. “[It’s] one of my favorite gigs. There is an immediate, intimate and very direct relationship with the audience, practically zero separation between us and them, as we find a way to balance in this small, moving, crowded space. It's like surfing and jamming at the same time. It suits the improvisatory nature of our music well; we are, after all, called the ‘Awkward Moments.’ Super fun.” And their performance? Far from awkward. It was pulsating with life.
Jimmy Carr and The Awkward Moments have released five records to date, all available as downloads on bandcamp.
Then fetchingly monikered Lola Torch explains the Tucson Libertine League’s second event with this tagline: “We guarantee we’ll make you sweat, but we promise you’ll love it."
It’s unlike anything else that you likely see in a Moldy Pueblo summer.
Combining the raw power and tension of rock ‘n’ roll with the expressive movement of dance, Tucson Libertine League’s Burlesque Battle of the Bands promises to be a monumental clash of sorts. Think of it: Hellfire rockers the Sugar Stains will battle against blues titan Tom Walbank while providing raucous live music for acro-act Les Femmes Marveilleuses, a maverick half-time marching band Hi Polish Floor Show and Tucson Libertine League’s burlesque dancers.
Torch, aka Emilie Marchand, president and producer at Tucson Libertine League, fleshes out, “I wanted to bring something different to the Tucson stage. We haven't really seen burlesque done to these types of music live. Usually when live music is involved it's more traditional ’40s music. We're bringing the rock ‘n’ roll!”
Here’s the tale of the tape:
It’s unlike anything else that you likely see in a Moldy Pueblo summer.
Combining the raw power and tension of rock ‘n’ roll with the expressive movement of dance, Tucson Libertine League’s Burlesque Battle of the Bands promises to be a monumental clash of sorts. Think of it: Hellfire rockers the Sugar Stains will battle against blues titan Tom Walbank while providing raucous live music for acro-act Les Femmes Marveilleuses, a maverick half-time marching band Hi Polish Floor Show and Tucson Libertine League’s burlesque dancers.
Torch, aka Emilie Marchand, president and producer at Tucson Libertine League, fleshes out, “I wanted to bring something different to the Tucson stage. We haven't really seen burlesque done to these types of music live. Usually when live music is involved it's more traditional ’40s music. We're bringing the rock ‘n’ roll!”
Here’s the tale of the tape:
Wednesday, July 26, 2017
Day 13
Thirteen.
That unlucky number. I never believed that, until today.
While we slept (late), thieves went shopping in our Mercedes Sprinter. It didn't help that the vehicle has a logo that screams, "Look! All-You-Can-Steal band gear inside!"
We were just enjoying our days off in Turin, Italy. That's when we were notified by the hotel front desk that the police needed a word with us, and that our vehicle was burglarized.
Great.
Just, great.
We don't have a security detachment, much less a crew, like some artists I've worked for. We are strictly DIY, which makes this even more difficult. Trying to find a secure place to park in Europe, especially in the more congested cities like Turin, is nearly impossible, like finding that proverbial needle in a hay stack. We thought we were lucky to secure the space. More, we were assured by hotel staff that it would be just fine where it was.
It wasn't.
The break-in itself seemed to be committed by amateurs, but apparently there's a web of thieves who go around stealing musical instruments all over Europe and, a lot of them end up in the U.K.
The Italian police were very helpful and even gave us a police escort to the glass repair shop and helped the glazier (also a drummer!) install the glass.
They Italian cops were big music fans and knew some of my history because, when they took my name down one of the officers immediately Googled it and up came an old image of me, in a past life.
I had more hair then.
I was struck by how compassionate and concerned they were, not only for our vehicle but for our safety in the city. For that we are very grateful.
I think the one thing that I would tell any new touring band is this: If all the things that are precious to you inside your vehicle are not taken out by you, someone else will do it for you, gladly. And, not very politely.
I think you'd be better served if the side of your vehicle said "Diaper Service" instead of the logo we have that basically says,"Free gear inside, help yourself."
Thankfully, nobody was hurt and we all learned a valuable lesson.
But my beloved leather jacket is gone forever.
After repairs and anguish, we set about replacing our stolen gear $$$. Had some nice meals together, and retired, earlier than usual. Tomorrow, we play a nice festival, near Turin.
XIXA can't stop. Won't stop. Eh eh, eh eh.
Stay tuned.
-WW, Italy
Thirteen.
That unlucky number. I never believed that, until today.
While we slept (late), thieves went shopping in our Mercedes Sprinter. It didn't help that the vehicle has a logo that screams, "Look! All-You-Can-Steal band gear inside!"
We were just enjoying our days off in Turin, Italy. That's when we were notified by the hotel front desk that the police needed a word with us, and that our vehicle was burglarized.
Great.
Just, great.
We don't have a security detachment, much less a crew, like some artists I've worked for. We are strictly DIY, which makes this even more difficult. Trying to find a secure place to park in Europe, especially in the more congested cities like Turin, is nearly impossible, like finding that proverbial needle in a hay stack. We thought we were lucky to secure the space. More, we were assured by hotel staff that it would be just fine where it was.
It wasn't.
The break-in itself seemed to be committed by amateurs, but apparently there's a web of thieves who go around stealing musical instruments all over Europe and, a lot of them end up in the U.K.
The Italian police were very helpful and even gave us a police escort to the glass repair shop and helped the glazier (also a drummer!) install the glass.
They Italian cops were big music fans and knew some of my history because, when they took my name down one of the officers immediately Googled it and up came an old image of me, in a past life.
I had more hair then.
I was struck by how compassionate and concerned they were, not only for our vehicle but for our safety in the city. For that we are very grateful.
I think the one thing that I would tell any new touring band is this: If all the things that are precious to you inside your vehicle are not taken out by you, someone else will do it for you, gladly. And, not very politely.
I think you'd be better served if the side of your vehicle said "Diaper Service" instead of the logo we have that basically says,"Free gear inside, help yourself."
Thankfully, nobody was hurt and we all learned a valuable lesson.
But my beloved leather jacket is gone forever.
After repairs and anguish, we set about replacing our stolen gear $$$. Had some nice meals together, and retired, earlier than usual. Tomorrow, we play a nice festival, near Turin.
XIXA can't stop. Won't stop. Eh eh, eh eh.
Stay tuned.
-WW, Italy
Tags: XIXA , Winston Watson
Tuesday, July 25, 2017
Day 10-12
We drove from Thun, Switzerland to Turin (Torino), Italy, to play another cool festival.
There are only a few border checkpoints left in Europe. Somehow, I always wind up talking to the guards at those checkpoints. In Slovenia, the guards who stopped us looked like Sophia Loren, in the '60s. (faints) I forgot my own name. Yes, they were that beautiful...
The Italian guards were serious as a heart murmur, and not particularly attractive. Ha!
Direct eye contact and articulate, direct answers are important. Then, Poof! Passports back in hand, ease on down the road.
Arrived safely in Turin, checked into the hotel, and had a sumptuous, Italian meal, followed by a little grappa.
Madonnn ... (no 'a') is the expression I'll use to describe said meal.
Ok, now to enjoy the two days off in Turin.
Stay tuned.
P.S. I have a couple of vignettes for you, featuring our "French Connection." I'll speak with Doumé, our sound engineer, and our bassist, Hikit Corbel. They are two Frenchmen who will give you their perspective on being on the road with bunch of American savages.
Merci Beaucoup,
-Winston Watson
Go here to read Day 9 of XIXA's tour diaries.
We drove from Thun, Switzerland to Turin (Torino), Italy, to play another cool festival.
There are only a few border checkpoints left in Europe. Somehow, I always wind up talking to the guards at those checkpoints. In Slovenia, the guards who stopped us looked like Sophia Loren, in the '60s. (faints) I forgot my own name. Yes, they were that beautiful...
The Italian guards were serious as a heart murmur, and not particularly attractive. Ha!
Direct eye contact and articulate, direct answers are important. Then, Poof! Passports back in hand, ease on down the road.
Arrived safely in Turin, checked into the hotel, and had a sumptuous, Italian meal, followed by a little grappa.
Madonnn ... (no 'a') is the expression I'll use to describe said meal.
Ok, now to enjoy the two days off in Turin.
Stay tuned.
P.S. I have a couple of vignettes for you, featuring our "French Connection." I'll speak with Doumé, our sound engineer, and our bassist, Hikit Corbel. They are two Frenchmen who will give you their perspective on being on the road with bunch of American savages.
Merci Beaucoup,
-Winston Watson
Go here to read Day 9 of XIXA's tour diaries.
Tags: XIXA , Winston Watson , Hikit Corbe , Doumé
Sunday, July 23, 2017
Day 9 ... I think?
Day off in Thun, Switzerland.
Last night we played an amazing festival in Thun (sounds like "toon"). The show was certainly one for the books. And we most certainly rocked.
Today, we had a great day off at a very nice hotel right on the shores of the Thunersee "(tuner say"), or Thun Lake, in Thun, Switzerland.
When you tour at our level, it's better to work the most days you can when you're out here, because if you don't play, you have to pay, as in hotels, meals, etc.
But, a day off in a very beautiful location is really good for morale. So is doing laundry.
More on that, in a later blog.
Doing laundry on tour is very important. But like I said, we'll get around to that later.
Tomorrow we head to Italy where more beautiful scenery, people, and food await we weary troubadours.
Thanks for coming along, and stay tuned.
Oh, the photos do little justice to the experience.
Sorry!
Peace.
-Winston Watson I Switzerland
Day off in Thun, Switzerland.
Last night we played an amazing festival in Thun (sounds like "toon"). The show was certainly one for the books. And we most certainly rocked.
Today, we had a great day off at a very nice hotel right on the shores of the Thunersee "(tuner say"), or Thun Lake, in Thun, Switzerland.
When you tour at our level, it's better to work the most days you can when you're out here, because if you don't play, you have to pay, as in hotels, meals, etc.
But, a day off in a very beautiful location is really good for morale. So is doing laundry.
More on that, in a later blog.
Doing laundry on tour is very important. But like I said, we'll get around to that later.
Tomorrow we head to Italy where more beautiful scenery, people, and food await we weary troubadours.
Thanks for coming along, and stay tuned.
Oh, the photos do little justice to the experience.
Sorry!
Peace.
-Winston Watson I Switzerland
Tags: XIXA , Tour Diaries , Winston Watson
Saturday, July 22, 2017
Day 8
Limitations of the human body and the Road.
Touring, although adventurous and fun, can be hard on the human vessel. In any "normal" daily routine, one hopes not to fall ill from any number of things. Out here, it's important to stay as healthy as possible.
To start, you're far from home. Add to that strange food and food-handling practices and there's cause for worry. Then, the sheer physical burden that comes from shlepping your own gear, when you don't have a full crew.
I'm my case, even though my mind thinks I'm a kid, my body has other ideas. I blew my right knee out, doing nothing Rock 'n' Roll, like stage diving or performing. I simply stood up wrong and dislocated my right knee—um, the most important knee, my bass-drum knee.
Gabriel heard and saw me reset my knee, from across the venue. It was nausea inducing, to be sure.
He was horrified.
It was a reckoning of sorts, I suppose. I'm OK with the body faltering, but when the brain goes?
Kill me, already.
Then, Gregory Houston had the misfortune of making direct contact with 240vac. Dodgy venue power was at fault. (Insidious, hidden, dangerous.)
Now, Greg is a big man, that may have saved him, because he fell straight to the ground, had that not happened, he may not have been so lucky.
See, high-voltage electricity doesn't turn you loose, it hangs on.
OK, off we go, 380km to Switzerland.
Stay tuned.
Old-man knee ...

-Winston Watson | Nürnberg, DE
Go here to read Day 7 of XIXA's tour dairies.
Limitations of the human body and the Road.
Touring, although adventurous and fun, can be hard on the human vessel. In any "normal" daily routine, one hopes not to fall ill from any number of things. Out here, it's important to stay as healthy as possible.
To start, you're far from home. Add to that strange food and food-handling practices and there's cause for worry. Then, the sheer physical burden that comes from shlepping your own gear, when you don't have a full crew.
I'm my case, even though my mind thinks I'm a kid, my body has other ideas. I blew my right knee out, doing nothing Rock 'n' Roll, like stage diving or performing. I simply stood up wrong and dislocated my right knee—um, the most important knee, my bass-drum knee.
Gabriel heard and saw me reset my knee, from across the venue. It was nausea inducing, to be sure.
He was horrified.
It was a reckoning of sorts, I suppose. I'm OK with the body faltering, but when the brain goes?
Kill me, already.
Then, Gregory Houston had the misfortune of making direct contact with 240vac. Dodgy venue power was at fault. (Insidious, hidden, dangerous.)
Now, Greg is a big man, that may have saved him, because he fell straight to the ground, had that not happened, he may not have been so lucky.
See, high-voltage electricity doesn't turn you loose, it hangs on.
OK, off we go, 380km to Switzerland.
Stay tuned.
Old-man knee ...

-Winston Watson | Nürnberg, DE
Go here to read Day 7 of XIXA's tour dairies.
Tags: XIXA , Winston Watson , Gabriel Sullivan , Gregory Houston
Friday, July 21, 2017
Make your reservations now: Hotel Congress today released the schedule for the annual HOCO Fest running Wednesday through Sunday over Labor Day weekend.
With a lineup of nearly 60 bands, the festival offers everything from local favorites to what are sure to be some diamonds in the rough. HOCO Fest offers not only music, but a series of events focused on food and music.
Lando Chill will take to the stage Wednesday, Aug. 30 to charm the audience with his lyrical hip-hop and mellow vibes touching on themes of race and gender. Chill just released his second album The Boy Who Spoke the Wind in July.
The Mexico Institute of Sound brings a blend of traditional Mexican instrumentals with DJ electronica from Mexico City to Tucson on Friday, Sept. 1. DJ/producer Camilo Lara was tapped to supervise the soundtrack for Pixar’s latest creation, Coco, about a 12-year-old boy and his magical guitar in a Day of the Dead tribute, set to release Nov. 22.
That same day, Tucson’s very own Orkesta Mendoza—led by Sergio Mendoza, who has frequently collaborated with Mexico Institute of Sound—offers pysch rock-infused mambo inspired by legend Pérez Prado. The band is known for its showmanship in crisp matching suits and intricate big band sounds. The show comes on the heels of a months-long European tour.
Lee Fields and The Expressions will travel from New York City to deliver some soul on Sunday, Sept. 3. Sampled by several of today’s hip-hop artists, Fields’ sway is something hips can’t shy away from. A 50-year career hasn’t slowed as the band returns from a European tour.
Community radio KXCI will broadcast live from the station's new satellite studio inside Hotel Congress with an open house Saturday and Sunday from 10 a.m. to 6 p.m. Check out the station’s new digs and donate your favorite CDs and album to help pack their playlists.
HOCO Fest will also give festival goers a tour of Tucson intoxicants to the first 300
arrivals each day, featuring Arizona wineries, Four Peaks Brewery, mezcal and more.
Two fairs will take place on Saturday and Sunday at the Maynard’s plaza with vintage clothing and record vendors.
And if that’s not enough, the after parties will keep you satisfied ’til sunrise with electronic music brought to you by Threshold by Ascetic House.
Check out the full list of artists and events on the site.
With a lineup of nearly 60 bands, the festival offers everything from local favorites to what are sure to be some diamonds in the rough. HOCO Fest offers not only music, but a series of events focused on food and music.
Lando Chill will take to the stage Wednesday, Aug. 30 to charm the audience with his lyrical hip-hop and mellow vibes touching on themes of race and gender. Chill just released his second album The Boy Who Spoke the Wind in July.
The Mexico Institute of Sound brings a blend of traditional Mexican instrumentals with DJ electronica from Mexico City to Tucson on Friday, Sept. 1. DJ/producer Camilo Lara was tapped to supervise the soundtrack for Pixar’s latest creation, Coco, about a 12-year-old boy and his magical guitar in a Day of the Dead tribute, set to release Nov. 22.
That same day, Tucson’s very own Orkesta Mendoza—led by Sergio Mendoza, who has frequently collaborated with Mexico Institute of Sound—offers pysch rock-infused mambo inspired by legend Pérez Prado. The band is known for its showmanship in crisp matching suits and intricate big band sounds. The show comes on the heels of a months-long European tour.
Lee Fields and The Expressions will travel from New York City to deliver some soul on Sunday, Sept. 3. Sampled by several of today’s hip-hop artists, Fields’ sway is something hips can’t shy away from. A 50-year career hasn’t slowed as the band returns from a European tour.
Community radio KXCI will broadcast live from the station's new satellite studio inside Hotel Congress with an open house Saturday and Sunday from 10 a.m. to 6 p.m. Check out the station’s new digs and donate your favorite CDs and album to help pack their playlists.
HOCO Fest will also give festival goers a tour of Tucson intoxicants to the first 300
arrivals each day, featuring Arizona wineries, Four Peaks Brewery, mezcal and more.
Two fairs will take place on Saturday and Sunday at the Maynard’s plaza with vintage clothing and record vendors.
And if that’s not enough, the after parties will keep you satisfied ’til sunrise with electronic music brought to you by Threshold by Ascetic House.
Check out the full list of artists and events on the site.
Day 7:
Ostrava, Czech Republic to Nürenberg, Germany.
We played the Colours of Ostrava Festival last night to a packed house full of people of all ages.
For me, this was one of those moments when I was glad I became a musician and not a pilot. The first time I came to the Czech Republic was in 1993, with a singer/songwriter with a pretty big following, worldwide.
I met Václav Havel three times, and once was held at gunpoint by his Secret Service men. Havel saw what was happening, and called them off. He gave me a big hug and kissed both my cheeks and said it was good to see me again. The man I was working for looked up from his famous Ray-Bans and cracked a rare, brief smile. Havel was huge fan of my boss's work. Haha. Thanks, dude.
So, yeah, I've been lucky enough to have been to the Czech Republic many times since. This time with XIXA, my T-town homies. It was spectacular. There's something about this country and what has been through that makes me keep coming back.
Ok, enough for now, we just crossed into Germany, where I can understand and speak the language. I need to work on my Czech.
Thanks for coming along.
Stay tuned.
Wir fahr'n, fahr'n, fahr'n auf der Autobahn...
-Winston Watson I Somewhere in Germany...
Ostrava, Czech Republic to Nürenberg, Germany.
We played the Colours of Ostrava Festival last night to a packed house full of people of all ages.
For me, this was one of those moments when I was glad I became a musician and not a pilot. The first time I came to the Czech Republic was in 1993, with a singer/songwriter with a pretty big following, worldwide.
I met Václav Havel three times, and once was held at gunpoint by his Secret Service men. Havel saw what was happening, and called them off. He gave me a big hug and kissed both my cheeks and said it was good to see me again. The man I was working for looked up from his famous Ray-Bans and cracked a rare, brief smile. Havel was huge fan of my boss's work. Haha. Thanks, dude.
So, yeah, I've been lucky enough to have been to the Czech Republic many times since. This time with XIXA, my T-town homies. It was spectacular. There's something about this country and what has been through that makes me keep coming back.
Ok, enough for now, we just crossed into Germany, where I can understand and speak the language. I need to work on my Czech.
Thanks for coming along.
Stay tuned.
Wir fahr'n, fahr'n, fahr'n auf der Autobahn...
-Winston Watson I Somewhere in Germany...
Tags: Winston Watson , XIXA
Thursday, July 20, 2017
DJ Shadow with Mophono
Rialto Theatre
July 19
Appealing to the psychedelic purple chakra and the primal red root at once, Mophono and DJ Shadow took us on a rollercoaster of the mind, through moody, soul-deep bass, melodic jazz and classic hiphop. All the elements were masterful—the cuts, the breaks, the scratching and the samples. Two turntables and hardly any microphone had us alternately listening hard and pounding our fists in the air. And the themes Shadow tackled were heavy—namely the aural and visual manipulation of time. From his scratch solo right after, "This is a story about being free" to the remixes of each classic Endtroducing track, to his shirt which read "We're never going back," the legendary DJ demonstrated mastery over this key component to our world, both rhythmically and conceptually. The paired, projected visuals were, of course, time-lapse photography. Shadow also played with space, creating aural (paired with visual) topographic maps of oscillating reverberations, ably set in motion by collaborator and opener Mophono, who took us back to the Silver Apples conception of electronic music with spinning magnetic sound. From the atomic beats and melodies to their limitless molecular combinations, Shadow's show tackled nothing less than the act of creation itself.
