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3rd May 2002 — The Metro, Chicago, IL
Setlist
Provided by Cody Bourdot.
"There were two encores, but forgot to seperate the songs." - Cody; If you can tell us where the seperation is, please email us.
Cloudless
Fragile
Sunrise
To Be
Everywhere
Loved
Shining Road
Future Song
Submarine
Lilies
Adoration
Angle Bell
Jewel
Far Away
Adrift
Driving In The Sun
Paris And Rome
Review(s)
I walked past the Metro around 4pm and there wasn't a soul to be found, so I stepped inside the neighbotiring pub to have a few pints at a table by myself and let Cranes song after Cranes song fill my head. I had read the earlier reviews, so i pretty much knew what they were going to play, but because I had missed their tour in support of Population Four, that knowledge didn't dampen the excitement filling my head. I left the pub after a few drinks and got in line and shiverwaited for about 30 minutes until the doors opend.
I didn't seem like more than 10 minutes had gone since they let everyone in, when For Stars took the stage. You could see the nervousness in the lead singer throughout their short performance, and the music was a pleasent surprise. They all seemed to be genuinely nice people.
There was a short intermission before the Cranes musicians took the stage and began Cloudless. After about 3 minutes of a musical intro, Alison entered. The connection between her voice and the music filled the club, and I felt like I was 20 again, and seeing them for the first time. I even recalled the pain of having to get a ticket refunded when a joint tour of Slowdive and Cranes was cancelled due to visa problems (i believe) in 1992 before that were selcted to support The Cure that summer. My last Cranes show was for their Loved tour at the Industry in Michigan, and while the stage scenery seemed to be stripped down, the musicianship of the bandmates and pixie-esque saunter and vocals of Alison were as powereful as ever. Jim seemed to prefer to stand off to one side and Alison off to the other, which really added the feel of togetherness of them all, sharing intimate space. Sinnce the new album arrived in the mail and words of a tour in 2002 started to flow, I had been eagerly awaiting to hear the new songs, and I was never disappointed. The highlites for me would have to be the second encore with Paris and Rome, the new track Future Song, and Adoration form Wings of Joy. Every song was brilliant and echoed feelings of my past experiences with the band through seeing them live, meeting them, and sharing their music with my closest friends. Performances like that remind me of how much certain music has affcted my life, and the Cranes will continue to do so.
I was standing next to a man who flew up from Houston, and lives in Mexico City to see the show. His expressions throughout the performance and after the concert were amazing. Being able to share this experience with him added to the evening. It's icredible to look at the dedicated fan base that the Cranes have developed over the years.
Reviewed by David Kinsey
We are standing in the woods, a small fire burning in he background, the moonless sky hanging high overhead. A metronome echoes in the spaces between us. It's nothing spoken aloud, but we are all indubitably there, entranced even before our fairie queene of the woods emerges, a slight figure in sandals and skirt hanging magically about a slight waist. Her hair is piled about her in precious curls and she smiles unsurely as if she doesn't know the power she holds over us. The Cranes' Alison Shaw hovers far stage right, but it's obvious that all eyes are on her as her brother, Jim Shaw, sets the swirling melody of 'Cloudless' into motion. New songs from the band's sixth album, Future Songs, more sparse and minimal, give Alison some room to test out her voice, and it's still as pure, wispy, and childlike, yet strangely commanding, as it was ten years ago. 'Everywhere', 'Shining Road' and 'Jewel' are placed strategically about the set, simple yet powerful acoustic grooves which Alison's voice adorns like a dove or a wondrous, unidentifiable instrument from the orchestra pit. A few surprises, like 'To Be' from the overlooked Population 4, fuse effortlessly with hoped-for surprises, like the tribal throb of 'Adoration' from their debut. Only on occasion does the spell lift, as the band patiently await the preprogrammed synthesizer to wind down, but Alison guides these moments with a casual awkwardness, nodding stoically and tugging absently at her top. It's enough to put us back under again. All is well, and Alison's donning her guitar for 'Lilies', its dangerous siren coiling about a mechanical Pink Floyd-ish 'Money' beat. The sublime ending is imminent though, as 'Paris and Rome' signals the departure of the forest nymph, its music box melody swelling and crashing on itself in waves, gossamer and pixie dust splashing in our faces, Alison issuing a final plaintive cry, and we're not sure where we've parked our cars.
Reviewed by sfenn.
© May 2002 RewiReviews.com
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