On Tuesday, I went to my first general admission concert since the world went into seclusion from the onslaught of the COVID-19 pandemic. I went to a show in July, but this was at a reserved seating venue, where staying in your seat (or at least by your seat to do a little awkward dancing) was strictly enforced by the staff of flashlight-wielding, credential-wearing martinets employed to patrol the aisles and keep order.
But Tuesday's show was different. It was held at Philadelphia's beautiful World Café Live, a two-stage venue that I have been to many, many times since its opening in 2004. I've seen a wide variety of musical acts there, as well as special movie screenings and a fair share of dance parties sponsored by the radio station that employs my son (which is, by chance, housed in the same building). While a handful of shows at WCL offer reserved seating, most are general admission, allowing attendees to stake out a spot on the large open space in front of the stage or in the smaller area surrounding the bar at the rear of the venue. I have seen shows that were poorly attended, with sad little clumps of patrons gathered haphazardly on the floor. Conversely, I attended a free performance by 80s icons The Pretenders where the audience appeared to be doing their best approximation of a sardine can.
To be honest, I would prefer a sparsely attended show. I don't like crowds. I don't like the way crowds behave. Large groups of people tend to think that concerts are interactive events where they are free to scream and try to engage the performers in one-on-one conversation. Others feel that the music is merely background noise for their very important conversations, often raising their voices above the volume of the PA system in order to tell their partners what they had for lunch that day. Then there are those who seem to think they are in a room all by themselves for a private recital with a band, regardless of how many or how few other people are there to see the same show. These folks roam freely, flailing their arms in joyful dance and regularly obscuring the view of the stage for a number of well-behaved concert-goers.
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The Baseball Project - Scott McCaughey (bottom left),
Linda Pitmon (center) Steve Wynn (bottom right),
Mike Mills (top left) and Peter Buck (top right). |
On Tuesday, my son and I saw The Baseball Project, a so-called "supergroup" currently on a multi-city tour promoting their latest release
Grand Salami Time, the quintet's first new album in nearly a decade.
What? You've never
heard of them? Well, the band is comprised of members of
other bands. There's Steve Wynn, guitarist and leader of 80s indie rockers The Dream Syndicate. On drums is Steve's wife Linda Pitmon, who has kept a strong driving backbeat for The Filthy Friends as well as Alejandro Escovedo's band. Also on guitar is Scott McCaughey, who plays with his other bands The Minus 5 and Young Fresh Fellows. Scott has popped up on and contributed to recordings from everyone from Liz Phair to The Monkees. He was a studio and touring member of alt-rock darlings R.E.M. Rounding out the band are Mike Mills and Peter Buck, both former members of R.E.M. and proud inductees in the Rock and Roll Hall of Fame. These five musicians joined up over their common love of rock and roll and the National Pastime, producing four albums (and a couple of EPs) of baseball-centric tunes that are decidedly different from the standard novelty songs of the past like "I Like Mickey" and "Talkin' Baseball." I've seen The Baseball Project several times (including a show in — very fittingly — Cooperstown, New York, home of the National Baseball Hall of Fame). They are fine musicians and songwriters and always present a rollicking (and informative) evening of entertainment.
Following a quick dinner of tacos, my son and I entered the near-empty World Café Live around fifteen minutes before showtime. I secured a spot at the back of the main floor while my boy ran up to the bar to grab a beer. Returning quickly, he handed me a tall cold can of something called "Liquid Death," which, despite its foreboding name, turned out to be plain water. (I don't drink alcohol and he knows it.) He placed his beer on the line of tables immediately behind us. I chose this spot specifically so there was no chance of anyone standing behind us, thus eliminating the possibility of getting pushed forward by some overzealous fan "caught up in the moment...
maaaaaan!" As showtime ticked closer, the venue began to welcome more guests, but, it was - by
no means - anywhere
near its capacity of 700. Not even close. I had high hopes of a well-behaved crowd who would optimistically keep their distance.
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| Buck. |
The lights dimmed and the band members filed out to the stage, grabbing their instruments and acknowledging the crowd with waves and smiles. Linda, seated behind the drums, shouted off a traditional
"1-2-3-4" and the band launched into "Erasable Man," a rocking ode to the legacy of Negro League powerhouse Josh Gibson. The crowd bobbed their collective heads and pumped their collective fists and made all the other patented actions executed at concerts by old, uncoordinated white guys. Of course, the darkened audience area was dotted with the glow of raised cellphones, snapping a few photographic souvenirs for perusing and showing-off at a later date. In my peripheral vison, I could see a hulking, white-haired gentleman cradling a small digital camera (not a cell phone) in his palms and aiming in the direction of Peter Buck. Buck was the only member of the band
not outfitted with a microphone. He stood silently and nearly immobile for the entirety of the show, plucking his guitar of choice and staring down his bandmates. He rarely, if ever, turned his glance towards the audience. The white-haired gentleman to my left was on a mission to capture every move — or in this case
non-move — that Buck made (or
didn't make).
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| Now, don't move. |
As the show progressed and The Baseball Project tore through their musical catalog, I noticed that the white-haired photographer was inching his way towards me with each new song. By the time "The Voice of Baseball" (a loving tribute to late Dodgers announcer Vin Scully) began, the white-haired gentleman was right in front of me. I mean
right in front, the back of his head a mere
inch or two from my nose. Without regard for anyone around him — specifically
me — he focused his camera in his raised arms, blocking my once-clear view of the stage even more. Because I was close enough to him (by no fault of mine), I noticed the image in his camera's viewfinder never changed. It was centered on Peter Buck.
Exclusively. He did not move to snap a photo of
any other band member. He just took photo after similar photo of Peter Buck. And Peter Buck rarely changed position. He switched guitars a few times, removing and replacing an instrument in a nearby rack, only to return to the exact same position on stage left (his right), just behind the energetic Scott McCaughey, who bopped and swayed to the rhythm of each new tune. Nevertheless, the white-haired budding Ansel Adams continued to take what was essentially
the same fucking picture while relentlessly encroaching on my personal space. I turned to my son, pointing at the oblivious white-haired gentleman and miming a shrug with my upturned, outstretched palms. My son laughed, leaned into me and said, "Did you miss going to concerts?"
Fifty or so minutes into the show, the band announced a quick break (that they identified as the end of the first game of the double-header). They would be returning for a second set and the house lights brightened in the meantime. Surprisingly — and even better — thankfully, the white-haired gentleman exited the venue and did not return for the second set. I suppose he captured every non-movement that Peter Buck didn't make to his satisfaction. Perhaps he was just one of the many devoted R.E.M. fans in attendance, still hanging on to the vivid memories of the band and trying to relive the Athens rockers' glory days. Perhaps he was gathering research and reference material for a proposed tribute to the R.E.M. guitarist in the form of a painting or even a sculpture. Perhaps he was a member of the extended Buck family, tasked to provide a pictorial chronicle of the celebrated cousin/brother/uncle on the second wave of his stellar career.
Or perhaps I was just happy that I could see the stage again.
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