Phil Vassar at The Birchmere

I've never had a bad time at the Birchmere, but tonight was one of the most enjoyable times I've had there. Always at the top of the list is getting together with my cousin, who could pass for my big sister, and her sweet husband. Our company mixed and blended into the audience of others sharing time and space with meaningful company, and somehow the shared experience made us all one. That's the magic of live music.

Add into that alchemy the joy of discovering another new-to-me artist, and my evening was fulfilled. On the bill tonight was singer/songwriter/piano man Phil Vassar and his two back-up musicians (no drummer, though an audience member offered).

Phil Vassar, via philvassar.com/about

Whatever happens in a man's life to make him write about it may be a blessing, including awakening to the simple lesson not to miss your own life. And it makes a great song. Being on tour and away from family cannot be easy, and Virginia native Vassar sprinkled his 105-minute set with gratitude and enthusiasm for being back home. It was a happy man who took the stage tonight, who even rolled the bluesier songs into joyful riffs.

The audience had plenty of fans to cheer and sing along, but as a new fan, I could only cheer. The prompts for "what do you want to hear next" were easily answered, though I suspect some were inside jokes. One of the first requests was "Purple Rain"--and yes, Vassar offered a few lines of the Prince classic with a grin.

From the discography on his Web site, I see the wonderful anthem "American Child" was an album title; others I liked a lot were "Amazing Grace" (not the one you're thinking of), "My Next Thirty Years," "Black and Whites," and "John Wayne," a tribute to what it means to be a man. I think my brother would have loved that one.

Not being much of a music critic, I would have a hard time putting Vassar's music into a particular genre. He's a piano man like Billy Joel, with blues accents and an occasional '80s pop vibe (at one point I was "hearing" the soundtrack to a movie like Big somewhere in there). But Wikipedia labels him a country artist, so there you go. At one point, the self-described ADD Vassar joked that he was going to rap. And country rap is ... crap. 

Bah-dum bum. (See, we did need percussion, if only for the rimshot!)

love, hosaa

grateful for digital souvenirs after the live experience has ended

eta, photos of the live performance courtesy of The Birchmere's Facebook page:

And, thanks to Twitter, this fun convo with the artist:

Stimulating Arts and Minds

Gosh. I thought I was done tirading about supporting the arts, and could go back to talking about what matters: futurism and Clay Aiken.

The Washington Post this morning carries an editorial by David A. Fahrenthold, entitled "Very Clever. But Is It a Stimulus?" Don't get me wrong - I don't automatically think anyone asking practical questions is a jackasss.

In fact, Fahrenthold does a good job at illustrating the main concerns that people have about investing any money into the arts: what's in it for us? What's the payoff? And how will artists really use the money? (And will I approve?)

He asked a poet how she would spend the money, and unfortunately the answer was a little self-absorbed: she'd buy more notebooks and spend more time on her poems. Fahrenthold goes on to lament:

But it's unclear what kind of ripples she would create in the broader economy. ...And if you think that there's a big commercial market for good poetry -- dense, crystalline stuff that gives up its meaning only with time, like the bitter juice that seeps from a grated onion . . . then you are unaware that the No. 1 song in the country recently was Kelly Clarkson's "My Life Would Suck Without You."

BIG opportunity missed here by Fahrenthold, his poet interviewee, and arts supporters in general. If the government is going to put strings on its "investment" in artists, instead of demanding "Tell us how many jobs you'll create and convince me your art is worthwhile," it should be demanding that the artist take a week and go teach a workshop in a school where arts funding was cut.

It isn't fair to blame it all on the success of Kelly Clarkson's current pop trifle. I guess you could applaud the stimulus she's giving the dying record and radio industry. But it's sort of like giving CPR to a corpse. There's more than the economy that needs stimulating.

Showing young people that there are higher forms of expression is an investment in a future of not just better art, but better minds. We're not necessarily teaching them to be artists, but to be thinkers and creators. It stops the decay of moribund minds, which don't just wither from neglect, but turn toxic if we let it happen.