Monsters of Folk; October 30, 2009; Auditorium Theater, Chicago

Coincidentally the last time I had been to the Auditorium Theater was to see Bob Dylan (who I had just seen the night before), the time before that was Julian Lennon in 1984 (don’t laugh it was awesome). I was in the first balcony both those nights and recalled thinking it wasn’t too bad a seat. However, I should mention that I am not used to being close to Bob Dylan, and that Julian Lennon show was a long time ago. In many venues the first balcony overhangs the floor so much that the front row is better than most seats below it. When I pulled a single front row balcony seat seconds after they went on sale, I figured that was a pretty good seat. Unfortunately I am used to being close to all three members of the Monsters of Folk, not to mention their drummer (who I was surprised to learn was Centro-matic’s Will Johnson, apparently drums were his first instrument), and my seat seemed an eternity away from the stage. Despite the distance it was impossible not to get caught up in the constantly changing line-up of solos, duos and trios and full band songs over the course of the nearly three hour(!) show.

When the Monsters of Folk tour was announced I figured it was just a cutesy name for the second tour that Conor Oberst, M. Ward and My Morning Jacket’s Jim James were undertaking. So I was surprised when someone told me they had heard a Monsters of Folk song on the XM radio. The three of them playing a show together was exciting enough, but a whole disc of their collaborations figured to be nirvana. And for most of the disc it is. It tends a bit toward the long side, but that is my only complaint with a disc that blends their three distinctive voices so well. I was impressed that the whole band had suited up for the show, only fitting given the beauty of the theater. All the kids seemed to be going nuts over Jim James, but I was there for the band’s other two members. Oberst may have stolen the show on record, but for me tonight’s show was all about M. Ward.

It was no surprise that cameras were not allowed at tonight’s show, few theaters of this size do, but I’m used to M. Ward requesting that we put away our cameras. I’ve seen him a couple times at the Pabst Theater, and both times signs politely requested that we refrain from taking pictures. When they ask that nicely I will always comply, even when I am used to being able to take pictures there. While I think he just doesn’t like having his picture taken, he claims it is so that we will concentrate on the show. He may be right- his last show at the Pabst and tonight’s extravaganza will make my year end list for sure. That last show was terrific, but he outdid himself tonight. I loved him on guitar, but even better was when moved to keyboards on “Whole Lotta Losin,’” where he played standing up and pounding the hell out of them with all the passion of a modern day Jerry Lee Lewis.

In addition to songs from the record, each member did some of his own material. Ward chose the fantastic “Chinese Translation” from 2006’s Post War for one of his selections, which is easily my favorite song of his. Some of the songs from their collaboration bear the distinct mark of who wrote them, for example “The Sandman, the Brakeman, and Me” is definitely Ward and “A Man Named Truth” is unquestionably Oberst, and they maintained that distinguishing sound live. Others are less easily sorted. First single and opening number “Say Please” sounds like all of them, but mostly like Oberst, while “Dear God” sounds like none of them. Granted I don’t know his output as well, but Jim James seemed to branch the most outside of his typical style. On songs like “Losing Yo’ Head” there isn’t a trace of the reverb-soaked Neil Young-esque voice which identifies the My Morning Jacket sound.

Interestingly, on songs where they all contribute, like “Baby Boomer” and “The Right Place,” I was reminded more of the Traveling Wilburys than I was of any of their individual output. It seems an apt comparison. It remains to be seen if they have the longevity or will make the same contributions to American music, but these artists are the Bob Dylan and Tom Petty of today. Which makes that $60 ticket totally worth it.