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A reminder about the power of the live performance:

Timeless: Concerts And Live Performances -- an appreciation by Reed of Reeds Tickets

People are more likely to download a track online than to buy an original CD of the same music. But something that still is unique for many is the fact that live performances have a charm of their own, one which is difficult to digitize and share with the world. You either have to be there or you miss it completely. No live recordings, videos or photographs of these concerts can capture what it is like being able to hear the music and feel the mood of the audience and the artists simultaneously -- which is why, despite all advances in technology and piracy, live concerts will never go out of fashion.

Here are a few reasons why you should reserve tickets to your favorite band’s next concert, despite having all their live and studio recordings loaded on your laptop:

Most bands perform their tracks slightly differently when they are live, compared to the versions they have recorded in the studio and put on that CD you own. Live performance allows for a lot of improvisation, whether it is in the solos each band member gets to do or the conversations the lead singer has with the audience. Many of these concerts are recorded and uploaded onto the Internet, but often these tend to capture more of either the audience’s sounds or the music being performed. It is rather difficult to find versions that actually give you the feeling of listening to the performances live (unless of course the artist has loaded some up on his website.)

These performances are the place where you get together with a large number of fans of the same music, and worship the artist together. Now, while you can listen to the same music endlessly on your own, the bond that you form from being an audience collectively with the other fans is not something you can match on your own, even if you use your imagination to the hilt.

Of course, downloading music might get you a few computer viruses if you are not careful. And in some cases you might have to download several different versions of a particular song before you find the exact one you want. It is especially hard sometimes to have to navigate through all the porn, distorted versions and cover versions that you definitely don’t want to be downloading. And even when you get the right song, it is highly likely that it will have a lesser impact on you than if you were to see the artist perform it live in front of your very eyes.

And then there's a basic fact which cannot be over-emphasized: Concert-going is a display of support for the artist. Not only are they encouraged to create great music, but they also get the validation an artist needs through direct contact with the audience. No amount of money made through record deals and sales can get them the satisfaction that a happy, responsive audience can give. And it is this reinforcement that gets them to make new music that surpasses their previous releases.

So keep this in mind the next time you decide to download a few tracks instead of buying tickets for concerts. If the price is where your dilemma lies, then think about the satisfaction and joy you will get from attending a live concert versus listening to the recorded track that lacks that unique dynamism. After all, unpredictability is a special thrill for humans, giving us a pleasure we seldom get from the things we have complete control over.

U2 Tickets and Concert Reviews: An online entertainment guide with reviews of all concert tours and different ways to find U2 tickets online, one of the many services of Reeds Tickets.



Thievery Corporation is distinguished among lovers of downtempo as one of the defining groups of the genre, right up there with Tosca. That being the case, when you think Thievery, you also think a certain amount of electronic instrumentation, sampling, etc. However, for their live performance, 90% of the sound was organically generated, or so it seemed to me: the line-up encompassed dual percussionists (Frank Orrall was exceptional); a three-man horn section; three female vocalists reprising the tracks that they made famous: Emiliana breaking the ice with Heaven’s Gonna Burn Your Eyes, Pam Bricker carrying the aaahhhhs of Illumination and Lou Lou turning on Le Monde, among others. The sitar player (Rob Myers?) brightened up an already-blazing stage, emitting the most impressively good vibe I can think of having seen in recent times. The same might be said for the bass player, who served forth a truly vibrational, deeply dubby bottom end. Add two MCs of different musical styles, and top the whole thing off with Rob Garza and Eric Hilton at their mixers … well, it takes a village. But what struck me most was that the mainstay of electronica of the sort TC are associated with – that is, the drum machines and bass loops – have been rendered organically in live performance, gaining in warmth and persuasiveness if not precision.

The horn section left nothing to complain about, but in the gaps between delivering the signature bits that had crowd recognition value (at one point including a riff I swear is the hook on Les Stances a Sophie by Art Ensemble of Chicago) they were distinctly motionless on stage … none of the stepping or other moves that the rest of the performers on stage were feeling … as it was, they seemed caught in a glass capsule, perhaps unable to hear the music which, if the had, they surely would have been dancing to it….

I guess the stand-out track for me was Illumination which I find one of the three or four iconic Thievery joints (they HAVE done more than a couple of things really well…)

There was also a spirited rendition of Bob Marley’s Get Up Stand Up and call me crazy, but I think people need to hear that lyrical sentiment at this particular juncture of history. Certainly, the crowd responded, but hey, it was a happy crowd, well disposed to responding to everything positively. It was a Thievery love-in.

The DJ mixing from 9 to 11pm when the show started had its fine moments, times when I would have loved to find out the name of the track, but closer to show time, I found it mostly discordant and inadequately beats oriented … just wasn’t consistently mood enhancing.

A word about the projected images visible on a couple of large screens. Such images are an accepted way to enhance shows, but I quickly came to feel they were distractions from this already captivating performance, especially the lengthy movie clips. Images, not story lines, would be a good compliment to TC -- even simple textile and carpet patterns would serve the vibe as well or better, and let you concentrate on the music. The image generation software used at the Danny Tenaglia show a couple of years ago is an excellent case in point ... swirling abstract images that support rather an compete with the performance (and in Tenaglia’s case, there wasn’t even a stage show to compete with and it was STILL better.)

This was my first visit to the BillboardLive space – it was spacious and well laid-out, with friendly security and excellent sound (variable, naturally, depending on your location inside the venue.) The area in which the club is located is also pleasant and inviting, with a couple of restaurants drawing crowds until well after the show ended. Because it is surrounded by condos, this is exactly the sort of area that will suffer if the current move by the NIMBYs of South Beach to limit noise carries the day.

On the "Glad I Went?" scale, this one was most certainly a 10.