and wear their maturity well. It has not softened them, and it has definitely not quieted them — Wednesday nightap show at the was very, very loud. Recording and touring (with various line-up changes) for nearly 30 years as an angsty alt-rock staple has focused them and lent a sense of ripened authenticity to their deeply wrought brand of power rock.
Tearing through the opening “Parked Outside,” from this year’s release “Do To The Beast,” the band made it clear right out of the gate that they meant business — and their business is sexy, gritty, loud rock and roll. The Afghan Whigs moved seamlessly through music that represented a wide spectrum of their work over the last 25 years. But it was clear they were supporting “Do To The Beast,” and the material from this album has every bit of the emotional urgency and sonic power found in their earlier recordings.
The evening also included several selections from their 1993 breakthrough album “Gentlemen,” including the gut-wrenching “Fountain and Fairfax.” Dulli’s vocal delivery is direct. He is simultaneously singing, snarling and staring you down. The aggression in his vocals and his demeanor on stage demands the audiences connection. But he balances this intensity with a sweet side, as he does on “Step Into the Light,” from 1996’s “Black Love.” No song is sadder than an Afghan Whigs sad song, and when Dulli cries “The light has gone, my love has gone, the good times have gone away,” it is easy to connect with such a simple, honest expression of love lost.
Behind Dulli’s big pain is an equally big sound. Though the lineup has changed considerably, the band — which has been on the road since August — is tight and focused. It is grounded by the crunchy, sometimes surprisingly funky bass lines of original Afghan Whigs member John Curley and the surprisingly powerful guitar work of Jon Skibic and Dave Rosser. Long time lead guitarist Rick McCollum parted ways with the band in advance of recording sessions for “Do To The Beast”. Its lush layers also include strings, keyboards and tasteful electronic embellishments, a fittingly complex canvas for Dulli’s powerful vocals and beautifully tortured lyricism.
Much of “Do To The Beast” was recorded at Josh Homme’s Pink Duck Studios in L.A., and the influence of Homme and Queens of the Stone Age rang through many songs, in particular “My Enemy” and “Up In It”. The Afghan Whigs readily offer up their influences, especially on Wednesday night. They quoted, more than covered, so many classic songs, including a menacing and hypnotic few minutes of Fleetwood Mac’s “Tusk,” a surprisingly uncynical “Getting Better” (The Beatles), and a soulful rendition on Bobby Womack’s “Across 110th Street.” Opening act Joseph Arthur also joined the Whigs onstage late in their set for “It Kills” mashed with Jeff Buckley’s poignant “Morning Theft.”
Speaking of Arthur, the multi-talented Renaissance man contributed a compelling opening set of earnest, soul baring song-writing. Arthur also provided some interesting covers, including brave renditions of The Velvet Underground’s “Heroin”, and Lou Reed’s stark cancer narrative “Sword of Damocles.” Arthur wasn’t content to offer mere covers and standard singer/songwriter fare however; he vacillated between creating live guitar loops to play over, stomping instrument cases for percussion, theramin solos, and near the end of his set launched in to a spoken word piece accompanied by his live on-stage creation of an original, Picasso-esque painting. Arthur joked with the crowd about considering whether or not to begin taking Adderall to help him with his focus issues, but his performance on Wednesday night indicated that the multi-talented artist is doing just fine the way he is.
Wednesday nightap show at the Bluebird was the second to last on the Afghan Whigs/Joseph Arthur tour, they finish in Austin on Halloween. But there was no evidence of weariness. These are writers and musicians at the top of their game, offering an emotionally gripping, musically powerful performances that left the Bluebird crowd sated, ears ringing.
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Amy McGrath is a Denver-based writer and regular contributor to Reverb.
Michael McGrath is a Denver area photographer. His work is available at . Visit .
