Review: Trey Anastasio at the Peace Center
Make that two bands with cult followings that I’ve first experienced live through the proverbial back (i.e. acoustic) door.
Six years ago this week, my introduction to Drive-By Truckers occurred when Patterson Hood and Mike Cooley brought their acoustic duo Dimmer Twins to The Grey Eagle. And on April 2, I entered the Phish fray with a solo acoustic performance by Trey Anastasio at the Peace Center.
Each time, I made sure to have an experienced and knowledgable fan by my side to help guide me through the artist(s)’ beloved lore. The insight that Stages photographer Micah Rogers provided regarding the DBT frontmen’s selections between the artists’ slugs from chilled tequila bottles has thus far led to the attendance of three full-band shows in Asheville and a solo acoustic tour stop by Hood. And after Anastasio’s recent visit to Greenville, I may just take up evening +1 Alex Dwoinen’s and my other Phish friends’ longstanding offer to submit myself to their kidnapping and subsequent companionship at one of the revered jam band’s concerts.
As with my DBT conversion at the time, I make this claim still not knowing a single song by Anastasio & Co. (Well, I’m aware of “David Bowie” and its alleged sound-check improv lore, but have only heard it performed a cappella by the same former colleague who shared said potentially dubious lore.) Yet I was similarly relieved to learn that ignorance likewise equated to bliss when hearing a full acoustic show by my latest discovery’s core player.
Anastasio’s mastery of the guitar was evident throughout opening selection “Brian and Robert,” and that prowess only increased as the 2.5 hour night of seated goodness in one of the Carolinas’ premiere venues proceeded. My anticipation for particular songs increased as the capacity crowd of Phish devotees cheered louder at certain opening chords or passages. And while only a few lyrics stuck with me (e.g. “I feel I’ve never told you/The story of the ghost”) the overall experience was so warm, inviting, and rewarding that familiarity was a non-factor.
What it all comes down to is: This guy can really play! Even without copious drugs consumed by the onlooker, the man’s skills are evident. And that he can seemingly do it all so tirelessly, night after night, only adds to his worthy social standing.
Some relief arrived in the final fourth of the 28-song performance via brilliant keyboardist Jeff Tanski — but only to an extent. While the last seven songs of the set offered a quasi respite from vocals, they demanded more of Anastasio’s fingers and musical acumen, forcing him to keep up with his symphonic accompaniment with intricate arrangements of his own. If anything, this last stretch showed the legend’s technical gifts more than any of the selections where his contributions along were responsible for the sounds that filled the hall, yet together they offered a fascinating look into a genius’ mind — and further cemented his high regard in the musical community.
If you want more insights, I’m sure someone made an illegal recording and posted it to the go-to fan sites. But from this n00b turned casual fan, just trust that the magic that first pulled you in to the Phish experience still exists for Doubting Thomas music fans like myself who now understand some semblance of what all the fuss is about.
(Photo by Edwin Arnaudin)
