![]() Problems were resolved and White recovered a working guitar in time to provide the screaming solo that a Yamaha upright keyboard could not.Īnd from there, off to the races, on the site of the demolished Hollywood Park track. So of course you want to see a little more of that guy.) Not one to be thrown for a loop by a forced moment of spontaneity in a performance, White moved over to the piano for the middle portion of the song - and fortunately, it just so happens that bassist Dominic John Davis and keyboardist Quincy McCrary are already filling “Taking Me Back” with some pretty fuzzy, guitar-like sounds as it is. (In keeping with the Third Man aesthetic, even White’s guitar tech looks like a character out of a movie, like a hippie gangster from “Performance” or something… his crew being probably the only one in the business prone to wearing vests and ties. Christopher Polk for VarietyĪctually, there was no guitar sound for much of the opening number, the latest album’s “Taking Me Back,” as some sort of technical snafu left White unable to participate in the barrage of sound for the first couple of verses, even as a roadie worked away on trying to connect multiple guitars. Jack White performs onstage at YouTube Theater on in Inglewood, California. Even if the entire audience had not availed itself of the easy availability of those new stompers, their riff-heaviness did not require an extreme level of familiarity to be pulverizing… and without the sonic nuttiness that makes the studio versions into roller-coasters, they might’ve gone down a little easier on first listen here anyway, with White sticking to one guitar sound at a time per song. But the real thrill of the night - and an early one - was the concentration of songs from “Fear of the Dawn,” as fun a pure-rock album as we’ve gotten from anyone in years. Hearing that latter number and “Love is Selfish” bolstered the two semi-acoustic sections of the set that also included lighter or rootsier perennials like “Hotel Yorba,” and teased just how strong a companion piece “Heaven” will be to “Dawn” two months hence (take it from us). ![]() With phones tucked away in Yondr pouches, White’s fears may include the dawn but do not include the fresh track “A Tip From Me to You,” being performed for only the second time, being bootlegged online before a studio version is available. That is indeed new albums, plural: the show included five songs from “Fear of the Dawn,” the all-heavy record that came out April 8, and two from its acoustically oriented twin, “Entering Heaven Alive,” that will follow on July 22. The set was surprisingly strong on the new albums, or at least surprising to anyone who kept track on the tour’s opening night, when there were just two news songs (and one new marriage) total. ![]() And that, hey, maybe, with its more pronounced dynamics and build to a real climax, the Raconteurs song “Steady as She Goes” really is a better encore-closer, anyway. There was no “Seven Nation Army” this particular night, to the consternation of a dude or two in the men’s room after, but to the aficionados who cherish the nature of that don’t actually involve a pre-conceived list, that was just one more sign that the maverick in charge is never phoning it in. That missed merch opportunity was pretty much the end of any miscalculations for the night, as White led his three-piece band through an hour-and-45-minute set that felt just the right side side of exhaustive, or exhausting, leaving a sensation that nothing was not left out on the stage - even if set lists from other stops on the tour show performances that have gone on for a few songs longer than this one’s ample 21. No offense to the painter, but most Angelenos are going to balk at framing something for their walls that reminds them of all the rest of the hours of the week they spend on the 405. The Third Man collector crowd arrived early at the first of the two YouTube shows Tuesday to have the best shot at the nightly limited-edition posters that become collectibles, and there was an almost audible “eh” when the poster art for this gig turned out to be an abstract representation of L.A.’s freeway system.
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