Wilco Summer 2009 SET LIST – Wappingers Falls, NY: Saturday, 7/18/2009

The SET LIST is below…

For a detailed review, CLICK HERE!

By Chris Moore:

Well, it’s only been three days and here we are again, seated in a ballpark waiting for an event to begin. And it won’t be a baseball game…

Wednesday was a phenomenal Bob Dylan concert in New Britain, CT and today, Saturday, is the Wappinger’s Falls, NY stop on the Wilco summer 2009 tour.

As I type, there are a few last minute adjustments being made to the equipment onstage before the opener at 7pm – Conor Oberst & the Mystic Valley Band. I have no idea what they’ll be like, so more to come about their performance soon…

I’ll be posting up-to-the-minute details of the Wilco set list as the songs are played, so check back soon for that. (I’ll do my best to report accurately, but they have quite the variety of covers that have slipped into their set lists in the past. Either way, it’ll be interesting!)

Conor Oberst and company just finished their set. Overall, they were an energetic and entertaining band, but I’m anxiously awaiting my first Wilco concert…

Jeff Tweedy and the boys of Wilco will be onstage any minute now, so stay tuned for the set list updates.


1 ) “Wilco (the song)”
2 ) “I’m Always in Love”
3 ) “I Am Trying to Break Your Heart”
4 ) “Shot in the Arm”
5 ) “Bull Black Nova”
6 ) “You Are My Face”
7 ) “One Wing”
8 ) “Side with the Seeds”
9 ) “War on War”
10 ) “Deeper Down”
11 ) “Impossible Germany”
12 ) “Far, Far Away”
13 ) “Too Far Apart”
14 ) “Handshake Drugs”
15 ) “Can’t Stand It”
16 ) “Jesus, etc.”
17 ) “Sonny Feeling”
18 ) “Theologians”
19 ) “Hate it Here”
20 ) “Walken”
21 ) “I’m the Man Who Loves You”
22 ) “Hummingbird”


23 ) “Poor Places”
24 ) “Spiders (Kidsmoke)”


25 ) “The Late Greats”
26 ) “You Never Know”
27 ) “Heavy Metal Drummer”
28 ) “Hoodoo Voodoo”
29 ) “I’m a Wheel”

Wilco Summer 2009 REVIEW – Wappingers Falls, NY: Saturday, 7/18/2009

For the Set List, CLICK HERE!

By Chris Moore:

As you walk in the gates at a Wilco concert this summer, your ticket is scanned and you are handed a free tour program.

That’s right; I said “FREE.”

And this is no cheap artifact thrown together for the sake of it.  This is a 34 page program, printed and bound as professionally as any other band’s tour program for which you would probably spend in the ballpark (pun intended) of $15 to $20.  Inside, you’ll find exclusive band photographs, the “Wilco Top 5-a-go-go” (a set of “Top 5” lists from the band members), interviews with Jeff Tweedy and Derek Welch (who designed the Wilco toys and the Nudie suits you see in the artwork for the new album), reproduced handwritten lyrics for “Country Disappeared,” a brief word from Glenn Kotche about a custom aspect of his drumset, a scorecard listing all the Wilco songs across the x-axis and all the locations for the summer tour down the y-axis, cartoons, and more…

I think you get the idea.

Although I didn’t know it when I entered the gates Saturday at Dutchess Stadium in Wappingers Falls for my first Wilco concert, this is precisely the type of show the band was about to put on: one jam-packed with more effort, creative energy, and ability to impress than I ever thought possible.

Over two and a half hours — and that’s AFTER Conor Oberst and the Mystic Valley Band left the stage — Wilco played a full set with two encores that added up to 29 songs.  The band entered by simply strolling through a gate on the first base line, walking across the outfield, and running up the steps to launch immediately into a rocking version of “Wilco (the song),” the opening track from their new album.

Throughout the night, Jeff Tweedy and the boys of Wilco played predominantly from their most recent four albums (Yankee Hotel Foxtrot, A Ghost is Born, Sky Blue Sky, and Wilco (the album) – six songs a piece, except for Sky Blue Sky‘s five), but they also played three songs from their third album Summerteeth and dusted off one each from their 1995 debut album A.M. (CLICK HERE to read a review of A.M.), its 1996 followup Being There, and the first Mermaid Avenue.

The first 22 songs — the main set — came at a rapid pace, as the band members somehow maintained the same soaring level of enthusiasm for recreating some of their best songs, as well as some deeper album cuts, onstage with either note-for-note perfection compared to the studio versions (“I Am Trying to Break Your Heart,” “Shot in the Arm,” & “Walken”) or by introducing interesting new rythyms, riffs, and other interesting aspects to their interpretations (“War on War,” “Too Far Apart,” & the by-now-classic concert version of “I’m the Man Who Loves You”).

Throughout the night, Tweedy interacted with the crowd in his characteristic way, the night’s main topics being the mosquitoes that were swarming the stage — “Does anyone have any DEET?” he asked — and the glow sticks that were being tossed around amongst the audience members at the foot of the stage — he mimed a set of “try to hit me, I dare you!” arm motions during one song, causing a volley of glow sticks to shower the stage, showing off the audience’s profoundly poor coordination.

“You guys have really bad aim,” Tweedy laughed at the end of the song.  That prompted a few more glow sticks to be launched in his direction, but he managed to duck each of them.

The first encore only included two songs, but it stretched on for more than twenty minutes.  The first song, “Poor Places,” was a heartfelt rendition of Yankee Hotel Foxtrot‘s penultimate track.  It was followed by a scorching, more than full-length version of A Ghost is Born‘s “Spiders (Kidsmoke).”  The latter is one of the songs that showed off the considerable talent and electric stylings of the three guitarists — Tweedy, the incredible Nels Cline (who truly brought a distinctive guitar style to the band when he joined in early 2004), and Pat Sansone (who was really unleashed in the second encore when he engaged in a volley of solos that passed between him and Cline as though they were firing automatic weapons).

The encore ended with Tweedy calling for the audience to clap to the beat, raising their arms above their heads.  As the instrumentation dropped away, he issued a challenge; apparently, the Brooklyn, New York crowd at Keyspan Park couldn’t keep up the beat after the band stopped playing.  Instead, they sped up rapidly.

For a brief moment after they stopped playing, I thought this crowd would fare better… but it was not to be so.  The members of Wilco motioned for the crowd to slow down and Tweedy started laughing as they went back to their instruments for the final riff of “Spiders.”

“You guys were good,” he politely exaggerated after the song ended.

When they left the stage for the second time, I thought for certain that the show had ended.  After all, they had played 24 songs and it had been two hours since they took the stage at 8:30pm.

And yet they still returned for more!

The second encore kicked off with an upbeat rendition of “The Late Greats” that had the entire crowd moving — from foot-tapping to full-out dancing — and smiling.  Next came the first single off the new album, “You Never Know,” complete with note-for-note perfect George Harrison-esque slide guitar by Cline.

“You have time for a couple more?” Tweedy asked, to which he received the deafening screams of the crowd.

When they kick-started “Heavy Metal Drummer,” you would have thought this was Lynyrd Skynyrd about to play “Freebird” for the response that issued forth from the audience.  They played a great version, but nothing could have prepared me for their interpretation of “Hoodoo Voodoo.”  With lyrics that Woody Guthrie wrote for his children but was never able to record, this track appeared as one of the Tweedy leads on Mermaid Avenue. I’ve always liked this song, but I’ve never loved it the way I did for those five minutes they played it, complete with a new driving guitar riff, pitch-perfect vocals by Tweedy as though we were in the studio with him back in 1998, and outstanding guitar work by Cline and Sansone.

Even though Tweedy had only asked the crowd if they had time for “a couple more,” Wilco launched into one final song.  By this time, the concert had to end at some point.  “I’m A Wheel” was just as good a song to close with as any that remained unplayed from their catalog.

As the song ended, Tweedy said a brief farewell, and Wilco turned on the crowd and exited from whence they had come.

Walking to my car, I realized that this is a fifteen year old band that is somehow in their prime now.  I’m so accustomed to seeing bands that have been playing for decades, that I forget sometimes that it is a different experience to attend the concert of a band that still has something to prove to history — namely that they deserve a place in the memories of rock music fans for all time.  I entered Dutchess stadium a big fan of the band, but tonight, Wilco had me convinced that they deserve that aforementioned place.

All in all, this was by far the best $42 I have ever spent.  If you have the opportunity, get out there and see this band at the peak of their game (ballpark pun, this time, NOT intended…).

“Exit Music (For A Film)” (Radiohead Cover)

For Radiohead chords & lyrics, CLICK HERE!

By Chris Moore:

Hello and welcome to another week of new music and material, brought to you by the best acoustic cover song music video this side of the Alpha Quadrant!  (That’s a little Star Trek: Voyager reference for those of you nerds out there…)

For my song tonight, I’ve chosen my first Radiohead cover.  How did I get to this song?  Well, I’ve been listening non-stop to A Singer Must Die,  Steven Page’s collaboration with the Art of Time Ensemble.  The final track on that album is a cover of Radiohead’s song “Paranoid Android.”  That song is from their 1997 album OK Computer.  Listening to that album today, I came across “Exit Music (For A Film),” a great little track that has a strong acoustic foundation.

And, after all, I realized that Jeff is the only contributor to the blog who has recorded a Radiohead track, and all four of his selections are from their album The Bends.  Now, I’ve never heard The Bends, but of the albums I’ve heard, my favorite has always been OK Computer.

What better reason to pull out a track from that release for tonight’s video?

The other story behind tonight’s session is that I had originally planned to cover a song in honor of the final edition of the Johnny Cash “American” series, American VI:  Ain’t No Grave, which comes out tomorrow.  I would have loved to record Sheryl Crow’s “Redemption Day,” but I couldn’t work out an arrangment I was happy with.  The only other song I was halfway interested in taking on was Kris Kristofferson’s “For the Good Times.”  I had learned, practiced, and planned to record it until I got home and realized I was too bored by it.  It would have been an extremely simple song to record — easy chords, basic country structure, etc. 

But what fun would that be?

So, I kept coming back to Radiohead and the fact that we’ve never recorded a cover from the classic OK Computer.  Figuring out the chords for “Exit Music” was more difficult than “For the Good Times.”  I found a couple different versions online, and what confused me most was how both sets that I found began with the same couple chords but then varied wildly.  In some cases, the first was accurate.  In others, the second was accurate.  In others, neither were accurate.  In the end, that was half the fun of this session: I feel like I got acquainted with the song through having to figure it out, so I felt a lot more passionately about recording it.

I suppose I’ll just have to wait for Johnny Cash’s versions of “Redemption Day” and “For the Good Times”…

Going back to the reason I started listening to Radiohead today in the first place, I wanted to repeat that I have been enjoying Steven Page’s A Singer Must Die much more than I initially thought I would.  When I first learned of this release, the prospect of an album of covers performed with an ensemble did not appeal to me in the slightest.  As time went on, I became more and more interested to hear what it sounded like.  Although I couldn’t bring myself to pay for the shipping that it would have taken to get a physical, autographed copy, I had assumed that Newbury Comics would be stocking it.  Then, last Tuesday, I was shocked to learn that it wasn’t available at any retailer in the U.S., nor was it available on iTunes.  I thought I would have to wait…

…that is, until Steven Page tweeted the link to his online store that had just added the digital version of the album.  As you can read in my review (CLICK HERE!), I found the choice of songs, the performances, and the arrangment of tracks to be outstanding.  To be fair, it’s not an album I’ll be cranking up in my car, but it is certainly an album that has and will continue to get a lot of air time at home.  The most exciting part about this week’s edition of the Weekend Review is the endorsement it was given.  After I wrote and posted the review yesterday, I also posted a tweet with a link so that people who follow me could read it.  Then, Mike retweeted my post and added Steven Page (@stevenpage).  Finally — and this is the exciting part — Steven Page actually retweeted Mike’s post!  So, in summary, Mike and I both managed to be retweeted by, as I wrote in my text to Mike, STEVEN FRICKIN’ PAGE!!!  In all seriousness, I was thrilled that he took the review seriously enough to retweet it, and I was happy to see the increased traffic on the page for yesterday and today.

As a final, non-music related note, I spent my first hour and a half after school today camped out in the living room with snacks and season five episodes of The Office.  The reason?  Not just because I’m lazy, although that was probably a contributing factor.  No, it had to do with the stench coming from my dishwasher.  There’s some kind of issue with the pipes or the dishwasher itself, and nothing I did seemed to help the smell.  So, after retreating for a while and feeling a bit depressed about the whole situation, I got excited about this session, which revived me.  Then, Nicole came home from her class with some advice from her father.  Fifteen minutes later, problem solved!  At least for now, as this will only work permanently if it’s an issue with the pipes.  If it’s the actual dishwasher, then I’ll probably return home today (or, at the latest, when I run the dishwasher next weekend) to a not so pleasant odor.

I’m not sure why I felt the need to share that, other than the fact that it is a great example of the power of the Laptop Sessions — they have the power to ruin a night (computer issues, multiple takes, etc.), or to revive your day.

And, with that, I hope you have a great week, keep checking back for new material this week, and I’ll see you next session!

“Exit Music (For A Film)” by Radiohead – Chords, Tabs, & How to Play

To see how it’s played in the cover song music video, CLICK HERE!

“Exit Music (For A Film)”

(Capo 2nd fret)

Am                    E                  C                    D/F#
Wake from your dreams, the drying of your tears;
Am               E                Asus2      Am
Today we escape, we escape…

Pack and get dressed before your father hears us,
Before all hell breaks loose…

Gm                    D
Breathe, keep breathing;
Asus2   Am  Asus2    Am      Em7
Don’t     lose your nerve.
Gm                    D
Breathe, keep breathing;
Asus2   Am  Asus2      Am      Em7      E
I can’t   do     this    alone.

Sing us a song, a song to keep us warm.
There’s such a chill, such a CHILL…

Am         B           E             F
You can laugh a spineless laugh.
F                      Bb            E
We hope your rules and wisdom choke you…

Am               E        C                D/F#
Now we are one in everlasting peace…

Am                       E                         Asus2      Am
We hope that you choke, that you choke…
We hope that you choke, that you choke…
We hope that you choke, that you choke.

** These chords and lyrics are interpretations and transcriptions, respectively, and are the sole property of the copyright holder(s). They are posted on this website free of charge for no profit for the purpose of study and commentary, as allowed for under the “fair use” provision of U.S. copyright law, and should only be used for such personal and/or academic work. **