Show Review

Fresh off the release of Artifact and currently embarking on the first phase of a massive cross-country tour, Sound Tribe Sector 9 returned to Colorado for an impressive three-night run in support of their new album. For three nights the band would merge old material with a slew of new tunes still being threshed-out, further pushing themselves while entering new sonic spaces.

Commencing the run was Thursday evening’s show at the Snowmass Conference Center nestled just outside of winter wonderland, Aspen. Not the normal concert hall, the Conference Center possessed refreshing appeal, with wide spans of dance space, plush carpeting and an enormous stage fully capable of fitting two STS9’s comfortably. I came in right at the conclusion of the Blackalicious set and soon thereafter the boys from Athens hit the stage with a surprising and intense opening combo of “Evasive Maneuvers”>”Kamuy.” With a seamless segue into “Kamuy” and an always welcome drum solo from percussionist Jeffree Lerner, the night got off to a sprightly start, but soon mellowed until a nicely placed “Water Song” and an aggressive, set closing “What is Love?”

Picking-up where the first set left off, “Rilly Wut?” began Set Two with smooth vocal samples of, “People are you ready?” Combining smooth percussive work from Lerner with Zach Velmer’s spirited and precise drumming and plenty of textural guitar and Apple G4 additions from guitarist Hunter Brown, “Rilly Wut?” glided along into a Brown and bassist David Murphy G4 lap-top showdown. A nice take on “STS9” followed, as did a rough, but forceful “Open E.” Highlighting the second set would be “Somesing,” one of the most electronic feeling tracks off Artifact. “Somesing” included plenty of slick keyboard work from David Phipps and head-bobbing beat progressions from Velmer, showcasing a more refined band developing a more refined sound. This is not a jam band and every night out they continue to show their audience why.

The following night STS9 traveled to Boulder and the Fox Theatre. Although terribly oversold and overheated, the Fox remains to be a hotspot for the boys from Georgia every time they play there. This time I caught a good chunk of the Blackalicious set and was impressed by their solid beats and Gift to Gab’s lyrical prowess. It was a nice warm-up, but truthfully, I was there for STS9. Opening with “4 Year Puma” immediately excited the sold-out crowd as the progressive build-up and eventual explosion of energy flowed almost flawlessly into one of the funkiest “Ramone &Emiglio” I’ve ever heard. Brown had the wah wah pedal in full effect as the band ignited the Fox crowd. “Equinox” proved to be another highlight of the set, including an extended drum and bass section much akin to late-night with LTJ Bukem.

“Twilight,” a song that’s become a staple in STS9’s live repertoire opened the second set with its eerie, horror movie shrill. This tune signifies a darker side to STS9 that’s arisen over the last year, a side that pushes the sound in a more progressive rock direction. After a heavily jammed “Squares and Cubes,” the band traveled into a beautiful take on “Monkey Music” that too, was extended beyond its normal parameters with lots of the exploratory jamming, thus summing up the second set. Encoring with “Music, Us” seemed to be a statement from the band that, here’s our new material and we love to play it.

Concluding the Colorado run of the Artifact Tour was a sold-out Saturday night show at the famed Fillmore Auditorium in Denver. Immediately upon entering, you can feel the grandeur of the room. Massive chandeliers line the raised ceilings as vast floor space spreads in every direction; it was truly a sight. I walked in a bit late, missing the “Musical Story” opener and the Boards of Canada cover, “Roy g Biv.” But I did catch the heavy bass riffs and funky keys of “F Word” and gliding guitar of “Blu Mood.” It was readily apparent the band had hit the stage full force, as a wave of electricity overcame the raucous Fillmore crowd of 3,500. An emotional “Luma Daylight” meandered into a “Tokyo” which seemed to take on a bit of its Artifact appeal. “Arregato,” a song that was debuted last Halloween and not really heard from since reappeared in stellar fashion, pumping a Biggie Smalls, gangster rap-like beat under melodic Phipps keyboard licks. After the dance flavored set closer, “Grow,” there was only one set left, and STS9 still had a few tricks up their sleeve.

Set Two began with the opening samples of “Once Told.” Rarely an opener, “Once Told” offered a short but sweet beginning before a shadowy “Mischief of a Sleepwalker” and distortion-laced “Open E.” Collective Efforts then graced the stage for the piano led Artifact track, “Possibilities.” Another new song, “Peoples,” one of the most impressive and technical works off of Artifact hit the Fillmore, as a dance party erupted throughout the auditorium. With Phipps, Murphy and Brown all facing-off on Apple G4’s and Lerner and Velmer holding down the beats, “Peoples” ventured into hip-hop influenced, electronic landscapes until a definitive “Kamuy” and eventual set closing “Tap In.” Returning for the encore, STS9 concluded an impressive three-night run with the always welcome electro-funk of “GLOgli” and the night closing “Rilly Wut?”

For three nights, STS9 brought the heat to the state of Colorado and showed the music world just why they are a band to look out for in 2005. With Artifact now released and the band in the midst of a massive national tour to support, watch out for a band poised to make a big splash and change the music world as we know it.

Photos by Robert Massie