Riviera Theatre-Chicago, IL
October 8, 2010
By Anthony Kuzminski
{Photo Credit}
- Read my 2008 live review HERE
- Read my 2006 live review HERE
- Real all Michael Franti related pieces HERE
Six months ago, Michael Franti and Spearhead performed to their largest Chicago crowd of their career opening for John Mayer. Midway through their cathartic and focused set, Franti appeared in the seats of the arena to perform a then unreleased song, “Hey Hey Hey”. For the next 5-minutes, Franti moved throughout the entire arena performing his guitar and singing a song aimed at the sweet spot in your heart. It was more than just a catching ephemeral moment but a releasing catalyst in the form of a perfect pop song. On that night, Franti and Spearhead stole the show from Mayer with their multi-faceted hymns of sincerity with bravado and energy that would bury most arena acts. Six months later, the band returned to Chicago at the Riviera Theatre for a headline show that was every bit as sacred. This time around, “Hey Hey Hey” did more than give off a peek-a-boo sneer but ruptured through the pop-rock spectrum in uncoiled shimmying grandiosity. Taking to the balcony, he strode once again throughout the crowd, making eye contact with everyone he could before he headed down to the opera boxes all the while singing, dancing and performing his acoustic guitar. The song is about appreciating life for all it challenges and hindrances (“Don’t give up, this song is for you”) because there is a bigger picture to concern yourself with. The message may appear austere, but it is terribly relevant and is one of the most pure and uplifting songs I’ve ever heard. The world is falling apart at the seams and the moments in life that truly matter is when we share experiences with other people. During this song, 2,500-fans sung their hearts out, living it up knowing that their lives were better for having shared in this concert experience. This wasn’t merely a one-off epic performance either. Anytime that Franti and Spearhead hit the concert stage, prepare yourself, because you may experience one of the greatest music experiences of your life.
Michael Franti’s hair hung and swung from his head as he infected the crowd with absolute love right from the moment he stepped foot on the stage. The merry “Love Don’t Wait” kicked the show off before the “The Thing That Helps Me Get Through” found Franti flexing his front man skills all with a million dollar smile. The splendid The Sound of Sunshine had been released a few weeks earlier and the set list featured nine of its songs. Most of them were worked out on the John Mayer tour, so Spearhead appeared poised in their delivery. “Anytime You Need Me” evoked the smell of a newborn babies head while “Shake It” had the crowd grinding inducing a sweat and sore vocal chords as a number of fans were brought on stage to show off their dance moves.Despite the two bona fide reggae-hip hop-pop- politico masterpieces in the last few years to draw upon (Yell Fire and All Rebel Rockers), Franti and Spearhead thrive on continual forward movement. Most of the show consisted of songs post-2006 with “Rude Boys Back In Town” with the crowd swaying back and forth, the forthright “Hello Bonjour”, the beat heavy “Everybody Ona Move” (with a slice of “Billie Jean” thrown in for good measure featuring a moonwalk by Franti) while “I’ve Got Love For You” yielded solemn ingenuity. “Yell Fire” found Franti in the audience as he fiercely delivered his vocals. When he returned to the stage he brought two fans with him, handed them guitars before the band launched into “Smells Like Teen Spirit” The deceptively sunny “Sweet Little Lies” was solemn until its climax when Spearhead whirled away in a series of jams. “Don’t Look Back” schooled the audience on where he steals a few of his tricks from. The Peter Tosh song, originally recorded with Mick Jagger on backing vocals, is one of the reggae genre’s most seminal creations and it fits in splendidly with his catalog. “East to the West” found Franti painting candid pictures with bright, bleeding and ingenuous colors. “Hey World (Don’t Give Up)” highlighted a portrait of pain put into perspective with Franti’s undecorated vocals and acoustic guitar. The breathtaking set closer “I’ll Be Waiting” featured an extended coda culminating in a transforming musical crescendo that induced a restoration of devotion. The song, which owes a tip of the hat to U2’s “Bad” is every bit as impressive as the aforementioned song in concert. Equally affecting was “As Long As You Love Somebody”, a new song Franti still hasn’t finished but captures the tender quintessence of life. For the evening’s finale of the worldwide smash “Say Hey (I Love You)” the stage was full of kids and even a few adults over 60 capping the evening with a feel-good sing-a-long moment.
The inventive Police-like arrangement of “Everyone Deserves Music” was possibly the evening’s tour de force moment. The title cut of his 2003 album was where Franti truly found his voice. Franti and Spearhead had made a career up to this point creating vivid and boisterous fight songs, but in ’03, Franti widened his stance and began crafting some truly enduring themes with pop tendencies. The throbbing new arrangement led by the guitar of J Bowman, who has added a rippling sweet spot to the forefront of the song. Instead of beats dominating the song, the lamenting strains of the guitar brought lush landscapes into focus along with a limitless delivery of the song’s heartrending lyrics- “Even our worst enemies Lord, they deserves music”. This admission of emotional vulnerability carries more credence than any confession an artist could ever make. As the song extended itself into a congealing combustive finish by the six-piece band, you couldn’t help but be emotionally drained. In recent years, the brush strokes of Franti’s themes may not be as politically biting, but are equally stirring. At his core, his music owes a tip of that hat to Bob Marley and the Beatles with unpretentious themes of love and examination but he demonstrates a work ethic equal to Bono and Springsteen. The reception he receives night after night is usually reserved for acts with decades of hits under their belt, but Franti has the rare knack for taking an atheist and within 2-hours making them a devout follower. He has an intrinsic skill to unearth elapsed senses coercing you to cogitate while liberating inner anguish. It’s rare to merge Saturday night frat-party dissipation with Sunday morning salvation but Franti executes this night after night with the ease of a straightforward smile. One of the reasons Franti can sway any audience is because there is no barrier between band and fan. This isn’t a literal proclamation either; he breaks down the walls most acts put up. One of the keys to Franti’s success is you look at him and without a single doubt in your mind, you know he believes every lyric that takes flight from his tongue has purpose. Despite never shying away from his influences, he comes off as more of a prophet than a mere imitator. Finding a balance between optimism and grim realities is a near unattainable task, but Franti seems to do it effortlessly. Maybe it’s my age, but with every passing day, anything that provides clarity to me about life I welcome with open arms.
Life, love, war, injustice, internal examination above all else hope were all on display throughout the two-hour show. With the release of The Sound of Sunshine and this recent performance it fully demonstrates that Franti and Spearhead continue to hurtle towards greatness with hypnotizing focus. You can’t help but surrender yourself to the music. The bravura set of soul-inducing songs rippled with soaring emotions and energy and was anchored by reflection, pronouncement and complete and utter elation; I didn’t want it to end. Without question, Michael Franti and Spearhead are one of the greatest gifts to the world of live music. Experience it for yourself; I promise you, you may never look at live performances the same way again.
Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network. His daily writings can be read at The Screen Door. He can be contacted at thescreendoor AT gmail DOT com and can be followed on Twitter
