The first thing I think of when I hear “Umphrey’s McGee” is that the group has always been original and passionate about their music. From their beginnings in the South Bend area (a stone’s throw from Chicago), through a few lineup changes and some ups and downs, the sextet’s success and level of performance has grown over the years due to hard work and continuous road testing of their compositions and style. And, although many would have a good case to argue that Umphrey’s McGee has been vaulting up the ranks of the jam band circuit for a while (indeed they have), there is no doubt that these days this band, as an entire entity, is a star on the rise. Their unique blend of progressive and intricate jam rock has made it under the spotlight and continues to deliver viable shows night after night, and their last CD - Local Band Does OK -has critics relishing in its purity and ambition. If the group were a stock, all their fans would be getting paid dividends each and every night. But as it was, on a cold Friday night in Cleveland, everyone in attendance was perfectly happy becoming musical millionaires for a few hours, as Umphrey’s McGee settled in and proceeded to spread the sonic wealth.
The show started off with an opening set by Cleveland’s own “Aranka Fabian” who played some spacey adolescent jams to the growing crowd. These guys are only in their late teens and early twenties, so, realistically, they probably won’t end up playing together for decades, but their style could take promising form with a few years of road testing and some more frequent interjections of originality. After just a 15 minute stage switch, Umphrey’s began with “Uncommon” and immediately demonstrated their original songwriting skills and guitarist/singer Brendan Bayliss‘ straight-forward and pleasant voice. He belted out lyrics such as “absence was an option only waiting to be found” with flawless delivery. Although Umphrey’s is a band known more for their progressive style than poignant lyrics, the true genius of the band lies in the way their songs are structured, and the lyrics, verses, and framing are all a dominant part of the recipe that makes their sound unique and palpable. The instrumental “Kimble” was next and bassist Ryan Stasik let his presence be known with some funky slides and booming bottom end. Stasik may not play the leading melodies, but his style and the notes he selects play a huge factor in the way Umphrey’s McGee songs swing and the crowd’s reactions to the music. Like any great bassist, Stasik punctuates the rhythm while interjecting his driving, low-end harmony.
Guitarist Jake Cinninger led the transition into a portion listed on the set list as “Megadeth” (a hard hitting introduction with head banging teases and overtones) into “Roulette”. This song not only epitomizes the way the styles and talent in the band melt together, but it has some greater significance. When asked about the meaning of such lyrics as “Morning could not give again, and soon enough those things that happen then…Could only wait for your remembering when”, Bayliss has compared the gamble of sacrificing such time and effort to be a part of the band to playing a game of roulette. In a way, “Roulette” is the story of this band, and both epitomize the marriage of structure and improvisation. The Police song “When the World is Running Down” and the original “Out Of Order” were a great combo and once again had Cinninger showing his impeccable style. Drummer Kris Meyers and percussionist Andy Farag sounded to be in perfect synchronization all night, often transitioning from song to song as one hand and one drum. The band took some time to really have fun in “Swerving”, with Bayliss swinging in on Keyboardist Joel Cummins’ turf at the left side of the stage and pulling down his hat to cover his eyes. Fan favorite “Miss Tinkle’s Overture segued into Mulches Odyssey” (or “Tinkles > Mulche’s” as the cool kids call it) closed the set on a high note, and the appreciative crowd headed to the bar for refueling.
Perhaps one of the best things about this show was that the band never left during the set break long enough for the energy to even dip in the venue. Ween’s
Chocolate and Cheese album made a 15 minute appearance on the sound system then Umphrey’s came back out to pick up where they had left off. The double sandwiched “Nothing Too Fancy” and “Divisions” was just an absolutely huge way to start off the set and was a sign of things to come. Cinninger slammed his guitar lines down and had dedicated fans jumping with joy and converts lining up to join the Umphrey’s bandwagon. A short rhythm breakdown was next and featured some clapping and rhythm eggs courtesy of Bayliss and Cinninger, while the drummers worked the beat. “Slacker” continued the set and picked up right where “N2F” left off. After a few transitions, a nice treat emerged from the continuously shifting palate of sound – a cover of the Toto classic “Africa” which, along with the next song “Porch”, displayed a much more harmonic and upbeat side of the band. The lyrics took center stage, but this band excels at always letting the music transcend the words. “Porch” was split up with “Resolution” and Stasik and Cinninger had some wonderful interactions during the space around the transitions.
The jam that came once the band shifted back into “Porch” is one of the most enjoyable and creative grooves I have ever heard a band play live. Umphrey’s plays the theme to the subterranean levels in the classic arcade game “Super Mario Brothers”, the soundtrack to many 20-somethings lost youth. This was instantly recognizable (the band has been doing this jam for a few years) and is still fresh, the ultimate in fun, and, believe it or not, musically inspired. The rest of “Porch” closed the set in the way that only this peak time mover can. The encore was very high-energy as well. “Chitlins” (as the set list referred it) and “40’s Theme” kept the crowd moving with their cool flow and 40’s “Your brother, your mother, your father, your sister” lyrics. This show was very enjoyable and kept the crowd on their feet with its myriad of sounds and influences. The Cleveland crowd showed their appreciation and headed out into the snowy night, all seemingly very appreciative of the way Umphrey’s McGee so generously spread the musical we alth. With more nights like this, Umphrey’s star will continue to rise with no limit in sight.
SETLIST
Set 1:
Uncommon > Kimble, #Roulette, When the World is Running Down You Make the Best of What's Still Around > "Jimmy Stewart" > Out of Order, Last Man Swerving, Miss Tinkle's Overture > Mulche's Odyssey
Set 2: Nothing Too Fancy > Divisions > Nothing Too Fancy > Divisions, Slacker, Africa, Front Porch > Resolution > Front Porch > Super Mario Brothers jam > Front Porch
Encore:
40's Theme
# - w/ Megadeath Intro
All photos by Robert Massie. Please visit jampics.com for more of his work.
