22 March: Yo La Tengo.  Fletcher's, Baltimore. 

They didn't play "Blue Line Swinger", but who cares. 

Wading through the sold-out crowd in the tiny upstairs room at Fletcher's to get JC some water, I realized that this was a completely different gig to YLT's 9:30 performance.  No chairs: well that was obvious.  Stripped down YLT: yeah, I noticed there was only three on stage.  No, it was the audience.  They were spellbound by "Our Way to Fall" a fragile mumbled song from And then nothing turned itself inside-out. 

James McNew, or a reasonable facsimile, bassist for YLT provided back up drums for the Happy Flowers: two wacko guys from Charlottesville, Va.  I don't know their work, but from this performance it appears to comprise of lots of noise, up tempos and child-like screaming - like the song "Mom".  General clowning and merriment ensued.  Thanks guys for clearing away the cobwebs. 

Contrast with the opening three or four subtle tracks from YLT.  A touch of organ craziness from Ira, but generally it was YLT at their mellow best.  Mellow is such a bad word.  It's more empathic, heartfelt, but I think you get the idea. 

Back to my main thought.  Different concert.  The YLT trio in an intimate setting - hmm intimate isn't quite the word.  Cramped, yeah that's it.  So, we were sharing space with Ira, Georgia and James.  And sound.  Words.  Feedback. 

As at D.C. there was plenty of new material on show.  It seems so effortless, but up close much more personal.  I think the five piece diverted from that ambience.  Also, much more from Heart including a very different version of "Autumn Sweater".  I read somewhere that Ira came upon this staccato version after hearing Kevin Shields re-mix.  YLT have a knack for off-beat versions of their own songs (as well as covers).  The bossa-nova version "Tom Courtenay" complete with the electronic drum machine backing from "Center of Gravity" completed the set. 

But, different concert.  Better, yep. 

It was one of those rare occasions where you could feel the energy between performers and audience.  Much has to do with YLT's quirky catalogue of music - much too to do with relationship oriented material from And... their latest platter - much to do with with an appreciative and polite audience.  It seemed as though everyone in that cramped, intimate little room hung upon every note, every slash of feedback, every word, every instrument change, every song introduction.  Compare, the D.C. types yapping through the set. 

Magnificent. 

Molto grazie to JC (not on best form). 
 
 

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