![]() ![]() The second encore began with Weller on keyboards for “These City Streets” and “Broken Stones” before he grabbed a guitar for “Start!,” which sent the crowd into a frenzy. ![]() “Wildwood,” “Monday” (Weller’s first nod of the evening to his first band), “Hopper,” and “Out of the Sinking” provided a welcome respite from the intensity of the electric set and showcased smooth harmonies and intricate musicianship from a band that has clearly been playing together for some time now (with the exception of newcomer Tom Van Heel on keyboards). Weller returned and most of the band, including drummer Steve Pilgrim now on guitar, took seats on stools at the front of the stage for an acoustic mini-set encore. The set closed with a raucous and raw “Porcelain Gods.” ![]() #Paul weller chicago fullThe band went into full psychedelic blues jam mode on “Into Tomorrow” and “Peacock Suit” featured exquisite guitar playing by Steve Cradock and Paul Weller. Rousing versions of “From the Floorboards Up” and “Friday Street” off of earlier solo albums kept the crowd on its feet in this seated venue, while versions of The Style Council’s “My Ever Changing Moods,” “Have You Ever Had it Blue,” and “Shout to the Top” were met with especially appreciative applause. Highlights from the new material included “Nova,” “Long Long Road,” and “Woo Se Mama” ( A Kind Revolution) and “Going My Way” and “White Sky” ( Saturns Pattern). #Paul weller chicago plusTaking the stage a little after 9pm, following a well-received set from opener Lucy Stone, Paul Weller and band delivered a high energy, two-hour plus show. Fortunately for everyone in attendance at the elegant Lincoln Theatre, Weller’s latest records are quite good and his five-piece accompanying band excellent. True to form Weller played six of A Kind Revolution’s ten songs, while airing two-thirds of 2015’s Saturns Pattern album. So, as his tour pulled into Washington, DC on Saturday night in support of his thirteenth solo record, A Kind Revolution, a heavy dose of new material was to be expected. Forty years into a stellar recording career that has seen him place number one albums in the UK charts in four different decades, he is all about the present and all about promoting his current work. The Times Editorial staff is not involved in any way with Green Links or with these third-party sites.Paul Weller has no time for nostalgia and he doesn’t dwell on the past (even though his is epic). These sites are not operated by the Los Angeles Times. By the time one reaches the over-the-top rhythm and blues silliness that is “Two Fat Ladies,” one is exhausted, having heard more song fragments than actual songs.Ĭlicking on Green Links will take you to a third-party e-commerce site. The album ricochets from the baroque psychedelics of “Andromeda” to the sexually frustrated soul of “Trees,” and then skids into the weird horror film mess of “7 & 3 Is the Strikers Name,” featuring My Bloody Valentine’s Kevin Shields. “Wake Up the Nation,” if anything, is at times too manically experimental. With 16 tracks in about 40 minutes, it’s more streamlined than his career-rejuvenating 2008 effort “22 Dreams.” “Get your face off the Facebook,” he sings on the bring-back-the-old-days rant that is the title track, and one can almost hear the spit hitting the microphone.īut this is not Weller being nostalgic. Weller largely comes out firing on “Wake Up the Nation,” arguably his most aggressive and energetic solo effort. ![]()
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