Breathtaking, mesmerising and splendid are terms often
affiliated with the Californian alt-rock band, Counting Crows. This isn't
surprising considering they have six studio albums and five live albums under
their star spangled belts. Over a 20 year career, the septet have peaked at
Number One in America with album, Recovering the Satellites, achieved
seven-times Platinum in Canada and America, with 1993 release, August and
Everything as well as consistently achieving respectful chart positions in 12
countries along the journey. With such an impressive reputation, 2013 live
record, Echoes of the Outlaw Roadshow undersells the American Darlings.
Introducing the album is a barely recognisable cover of Bob
Dylan's, Girl From the North Country. Accompanied by a minimal electro-acoustic
guitar, Duritz' vocals are left raw and exposed. Although it's an expressive
performance, laced with sentimentality, conspicuous wrong notes demolish the
harmony and let Duritz down.
The performance becomes more promising however, with a set
list 15 tracks strong, the album runs for an impressive 76 minutes. Including
an assortment of songs from across their discography, including Up All Night
(Frankie Miller Goes To Hollywood), I Wish I Was A Girl and Untitled (Love
Song), the album boasts a generous look through Counting Crows' career. The
longest track on the album is a revitalised Round Here. At just over 10 minutes
,it is nearly double its original length. An experimental electronic intro
reverberates as crowd cheers increase on recognition of the popular hit. Known
for remodelling their song arrangements for live performances, the 90s formed
musicians perform the track with fuller instrumentation at an energetic pace. With
gentle piano phrases which lead to a spirited climax, the group succeed in
transforming the track into a perfect live number.
Blues infused Mercury calms the atmosphere to a mellower
level and the musical style flatters Duritz' vocals much more than some
lacklustre ballads of the performance. Despite this, tracks including Mercury
and Rain King begin to drag as they both hover
around the seven minute mark. With sparse crowd interaction featured
during the record, it is hard to capture the atmosphere of the live
performance, resulting in the album feeling, somewhat, destitute.
It's indisputable that Duritz and fellow band members
deliver charismatic performances, full of classic tracks and passionate onstage
deliverances thus warming the hearts of their avid fans. Echoes of the Outlaw
Roadshow is a charming remnant of their Northern American tour in 2012, but it
fails to exhibit the group's trademark bewitching qualities.
Emma Storey.
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